In 1976, the people of the state voted to open a casino, and the renovation was completed in 1978, making it the second largest casino in the United States. The film was shot in 1980, and Louis Mahler keenly seized this opportunity.
It is also thanks to the transformation of Atlantic City that the idea of the film has been sublimated. Atlantic City becomes the casino's new and the bland old old, Susan Sarandon's far-flung new and Bertrandcaster's powerful old. The changes of the times and the turmoil of the city have endowed the film with a heavy motif of the past and future, and sublimated its conception.
Under such changes, Bertrandcaster's old husband said that juvenile madness is a sunset that shines back, majestic but fleeting. Recognizing this, he smiled and sent the young her away, who rushed to the front, and stayed in the old city and the old she held the hand of her son, and was buried with his own era.
The value of this film is that it is rare that an old melodrama can be shot from the perspective of changing times with such a long and aftertaste. Looking back at this work from 40 years ago today, the United States in the 1980s was moving forward with each passing day. Now, how many Atlantic cities will there be in China, which is talking about a major change unseen in a century?
A thousand sails pass by the side of the sinking boat, and a thousand trees spring ahead of the sick tree.
The yellow crane is gone forever, and the white cloud is empty for thousands of years.
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