Movies related to "Nanjing" have always been difficult to evaluate as good or bad. Because Nanjing is a city, tears and pain are natural, and there are always a few bridges and scenes in the movie that will make people cry or hurt.
The question is, if it's just tears or pain, is it because the movie was well shot, or because it's the city of "Nanjing"?
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Therefore, in a film about Nanjing, the people and things in it naturally cannot be separated from Nanjing and Nanjing, but more importantly, how to let the gloomy bones under Nanjing city leak out, and then the time will flow back, so that a The skeleton was regrown with blood and flesh.
First of all, I seem to see Lu Chuan working hard. A few roars from the Japanese soldier Kadokawa, a love affair that Yuriko sees as "sexual vent", a gesture of committing suicide on the outskirts of the city, as if to say that Kadokawa, who has lost his way and knows his way back, can go home by dying. , Flowers bloom on Mo, and slowly return.
But such a simple "death" without specific events is the most powerless repentance. Instead, what I feel is that the Japanese soldiers are helpless, they are being persecuted. What does the director want to convey?
Whether death is lighter than a feather or heavier than Mount Tai is not death itself, but life before death.
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only place that made me cry is that the prostitute played by Jiang Yiyan took the lead in raising her hand and defending her dignity by sacrificing her own dignity. When she died and was brought out naked and threw on a scooter with Japanese comfort women, her role and connotation were also nakedly open to the sky and the earth.
Our impression of prostitutes is nothing more than "unrighteous". As the saying goes, actors are ruthless and bitches have no sense. She refused to cut her hair, and said that she had to rely on this for food when she went out. She went down step by step, putting aside the object of betrayal. In fact, it was no different from usual, and she betrayed herself.
Then she suddenly raised her hand and burst into tears. I'd love to say that this is kitsch, she used to be kitsch, but now she's pretty. But no, because I can't bear it. This is the genius of Director Lu Chuan. Who has the heart to point fingers at a person who is willing to sacrifice himself? This is precisely his failure.
I just feel that if she laughs, it will be better than crying. Then she died. If there's a scene in between that shows her death was out of disillusionment with her work ethic, then she's really dead. Doesn't it mean that a prostitute's last belief is her professional ethics?
but no. But still shed a tear. But I'm sure if it were someone else, I would too.
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Other characters have appeared one after another. Soldiers who resisted died, relatives died, and unknown actors died... The key point is that each death seems to be unrelated, and the structure depends on death instead of people. Does the director want us to see death?
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I'm still thinking about who the tears I shed were for.
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