I haven't read the original book. Regarding the movies based on best-selling novels that have popped up all the time these days, I can only say that there are really too many best-selling novels. It is already a great burden for me to watch movies in front of the computer every day. I will enjoy those hundreds of years. The endless stream of best-selling novels will really kill me. I still remember that the year "Cold Mountain" turned out, it was full of overwhelming propaganda, and the momentum was vigorous, but in the end it almost ended in a dismal Oscar. Director Minghella later complained that the Little Golden Man was unfair to "Cold Mountain", but when I finally saw the movie 6 years later, I felt that if it was Cold Mountain instead of Lord of the Rings 3 that overthrew the Little Golden Man, it should be the judge. Let's be blind. I don't want to be "after the fact". So, let us return to the film itself. The themes of the Civil War and the Lady with the Migrant Workers are easily reminiscent of "Gone with the Wind", although the latter is the lady with the gangster. However, in order to treat this film fairly as Minghella wishes, I tried my best to avoid comparing it with the older generation 70 years ago. But I really can't help but mention Minghella's own "The English Patient". I have always admired the courage of some directors to boldly repeat themselves, or some actors. Far away there is Robin Williams who played the role of twin model teachers in "Death Poetry Society" and "Mind Catcher", and there is a Kaige teacher who is suspected of Hua Dan control. I see them stepping on their own footsteps and let others talk about it. At that time, I wanted to stab my own dog's eyes, not the judge. To some extent, Minghella also repeated himself. The tone and temperament of the film is the same as that of "The British Patient", high-end atmosphere and high-grade, with a strong sense of aesthetic visual art, and the emotional drama is delicate but not lingering, sad but not sensational. But after all, this style was used first for the latter, besides, how can Lengshan Manor be the same as Damo Guyan. Therefore, in this semi-cold weapon era, the semi-war and semi-love film, the flames of war and gunpowder are beautifully filled, and plundering and killing are beautifully carried out. The long and arduous escape route, the scenery is horribly beautiful; Ruby and Ada look for the tragic scene of the slain dad, which is even more exquisite as a fairy tale. Two Barbie-like shepherdess are in the snow. I walked and walked, and found a body carefully wrapped like a Christmas tree gift...囧rz. The soundtrack of the film is also like a magic sound through the brain, too late. The most typical one is that when Inman first fled, the so-so, ethereal female singing that day, although the atmosphere was sad, but it was too deliberate. To say that it was ugly was contrived; the opening war scene, the vigorous and slow gospel chorus often used to modify a lot of The hurried chaotic footage editing; when Cold Mountain Town declared war, the overly graceful "Super Singing" in the church cares. What surprised me even more was that the sex scene of the two was cut off and then immediately released in the form of a flashback. This place fully demonstrated the director’s fake literary style. It's so stupid to throw in your arms. At the same time, the two main lines of the film all the way to the end often make the plot advancement too abrupt or far-fetched. At the beginning of the film, there was a three-year time difference between the two plot lines, and then one of the lines suddenly jumped back three years, and the hero and the heroine seemed to be on the same timeline. Why I say "it seems" is because the advancement of the two lines is not obvious in terms of time. There is no subtitles, no correlation or linguistic hints on the plot, which is the only link between the two lines. The letter also lacks causal logic. The only thing that really convinced me that the male and female protagonists intersect in time is the night that Inman spent the night at Sarah’s house and Ruby’s father had a party at Ada’s house. I believe these two things should happen at the same time, otherwise the two scenes overlap. The editing loses its meaning, even if the director originally wanted it to be meaningful. The night at Sarah’s house was also the only moment that touched me in the whole film, but I still have to say that only Wong Kar-wai can play such an emotional drama to the extreme. This night in Minghella’s hands, after all, it can only be as complete. Like the movie, it was calm, at most it caused a little ripple, and it quickly disappeared without a trace. Finally talk about the actors. This is Nicole's ambition after winning the Golden Man. Fortunately, the judges have sharp eyes. Nicole played the neurotic Woolf with ease, because there was no need to laugh, but it was difficult to play the southern lady with Vivien Lizhuyu in front. Although there is no authoritative statement on whether Nicole fights Botox or not, I am almost certain that this is true, because no actress's face can be as stiff as a wax figure when it shouldn’t be stiff, only Nicole has done it. But Zellweger makes me feel very wonderful. Her baby-fat fleshy face and her disguised toothy, seemingly naive, plus her mouth like a pig when she speaks, and her turmoil in Kyushu. The pace, alive and well, is a kind-hearted and capable simple peasant girl, which really adds a lot to the film. I can’t comment on Jude Law and Portman’s performance, because the focus is on their exquisite makeup. This is also one of my biggest remnants of post-industrial movies. They can't always capture the historical vicissitudes of life, because the makeup and props are too exquisite, the actors are well maintained, the flaws are not concealed, and the makeup artist makes the milk suck. I want them to be ashamed, but there is no way to hide their glamour. In the war one hundred and fifty years ago, there were no yoga classes and nutritionists, no fitness instructors and plastic surgeons.
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