If Qin Shi Huang had a younger sister

Josie 2022-09-07 04:15:47




If Qin Shihuang had a younger sister - Bai Bonnie , the female character in "The Banquet",

in a normal movie, the heroine seems to have only three options: run away, die, and helplessly keep life as it is. After Nora left, where she could go has been discussed a long time ago. Death, though heroic, has no guiding meaning in real life. Life as it is: A lot of viewers must have disagreed. Because at the end of the love movie, it's all happy end, the heroine is saved by a man's love, and her life is completely changed. Yes, in my opinion, nothing has changed. Interestingly, in the blockbuster "The Banquet" directed by Feng Xiaogang, women have only one ending: death.

In the film, there are only two female figures: Queen Wan'er and Qingnv. They are all victims: the queen Wan'er is the victim of the desire symbolized by Alizarin Red, and the young girl is the victim of the one-way love symbolized by "Yueren Song". As victims, they must die. The death of the young girl has sublimated her value. She lives to die for the man she loves; the death of the empress Wan'er is a judgmental ending. She must die, and immortality is not enough to make people angry. Die for death, death is her devastating end, an explanation. The director's idea was too powerful and too far-fetched, and he didn't even arrange a murderer to kill Queen Wan'er, which became a suspense. On a plot level, it's also an almost impossible task: since all the male characters are dead, the only one is decrepit and sent into exile. Mean viewers online said that it was Feng Xiaogang who killed the queen. In a sense, I totally agree.

The blockbuster's gorgeous technique, beautiful graphics, empty plot, ambiguous history, and contrived lines are all to be expected. But I am still amazed that Feng Xiaogang has portrayed two such thin and uncreative female characters in the film: one is a prostitute and the other is a virgin. One is a bad woman and the other is a good woman. A good woman dedicates her love and body, all humiliation (in the movie, the prince Wuluan raped the young girl and was whipped), has no complaints, no regrets, and tolerates everything. The evidence of love does not include any show of love, let alone promises. , but only the fragile marriage contract and the information in the dream, just to "soothe the loneliness of men", and every audience can see that Wuluan is in love with the queen Wan'er. Her persistence in love and her pride in Empress Wan'er seemed very ridiculous.

A bad woman uses her body in order to get what she wants. For her, there are only two types of men: those that can be used and those that cannot be used. In the heart of a bad woman, there is no love, only sexual desire. (The first time Queen Wan'er saw Wuluan, she signaled to have sex) I dare to say that there is no love in this movie, only obscene and inexplicable obsession (uncle Wan'er to Queen), unreachable desire (Queen Wan'er to Crown Prince) Wuluan), nervous admiration (Qingnv to Prince Wuluan), and brother-sister incest (Yin Fal to Qingnv). Therefore, the only two sex scenes in the movie, one is the adultery between the queen Wan'er and her uncle (in order to emphasize this nature, the two keep calling each other: uncle, sister-in-law), and the other is rape (Prince Wuluan is right The young girl), the director gave the adultery scene a chaotic and emotional color, and shot the rape scene very beautifully: the beauty of violence is reflected through the wind and rain in nature, and finally the young girl hugs Wuluan head ends. In fact, this scene has been repeated: "You are her!" "I am not her!" The sex is the most brutal scene in the film.

As anyone knows, bad women are more dramatic than good women. Standing behind Empress Wan'er are some women: Antigone, Cleopatra, Lady Macbeth, Destemona, Phaedra, and even Anna Karenina, Emma Bao Director Farley will never admit that he despised women, because Queen Wan'er is the first protagonist of the film. She is gorgeous, her character is changeable, and she is highly valued. But at the same time, we found that the only heroine, besides getting a man's body as a bargaining chip, did not get actual power, nor did she have the bargaining chip to win the world. The first thing she did to get the so-called throne was to make an Alizarin red dress for herself. Her only talents are sexy and vicious. She did not work hard to win the world in an orderly manner from the beginning of the movie. What we see is that her purpose at first was to protect the prince Wuluan. She was pushed forward by the men. She doesn't even know who she loves. In the second half of the film, it seems that Queen Wan'er really fell in love with her uncle and gave up Wuluan: the only advantage of uncle is that she is better and more numb to Queen Wan'er. Maybe, if a man is willing to be nice to a woman, the woman should fall in love with him. This is the director's logic. This is the woman in the film: very active, but very passive. It looks brilliant, but it's actually chaotic. In fact, she didn't kill a person directly, but has been trying to protect her powerless and willful lover.

I don't know how many movies people make about women in a year? How many of them were shot by men? Did you know that women have literally become the most talked about animals in the world? If I say that the director raped the female audience in the movie, the director must think I am alarmist. But I do confirm that in this film, he really only focuses on the female body, and does not go deep into the female heart. Equating a woman's body with sexual and materialistic. Associating women with sex, dirty, sinful sex, is only about women. A woman's identity is "sex" rather than "person", and a man's identity is "person" rather than "sex". Put women in the position of being watched, admired, molested, passive, and benevolent, while men are in a position of superiority, spectator, active, and donor.

In Woolf's "Women Shakespeare" article, Shakespeare imagined a sister named Judith, and Susan Sontag made this concept more complete in her own play. Both the novel and the screenplay end like this: any woman born in the sixteenth century of great talent must eventually go mad, commit suicide, or live in solitude in the wilderness, like a witch, fearful, and terrifying. laugh at. It's interesting to compare 'The Banquet' with 'Hero'. I can't help but think that if Qin Shihuang had a younger sister named Wan'er, if she also had outstanding political ability and ambition - believe me, she must die, only death, her only end is death.

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