Yes, it's not a collapse, Gong Li's last sentence "I'm pregnant with Jing Ke's child" is lazy enough, too lazy to be like "Braveheart". On the whole, the flaws are barely concealed, although Chen Yiguang's flaws continue to emerge. Excessive desire for expression and big propositions, Chen is always delusional to say everything he can think of in one movie, and the shyness of intellectuals makes him unable to put down an unnecessary shelf, and he is not even reluctant to start building from the foundation. His own attic—of course, he can’t. The grandiose didn’t even give him the time to clarify the concept. What he handed over was always the empty proposition of squeezing the living space, statues made of plastic, and it was also a group portrait. Going back to "Assassination Qin", it is the neuroticism of the characters that makes up for those high-spirited and self-conscious ideas: Jing Ke's weak sense of guilt, and the fleshless self-exile (perhaps it is the problem of the version I read, in this version, both The hole dug by Zhou Xun) was finally filled in by pretending to be crazy and dialect in the final assassination. If not, Jing Ke would be the most dispensable and symbolic character in the whole film; Gong Li's moral anxiety The shallowness and clichés of the film are also overshadowed by the swaying character positioning (though unlikely to be Chen's intention). And Li Xuejian gave an interesting performance, even if the expression was entangled: Therefore, why Chen expressed in such a neurotic way, it will be very interesting to delve deeper. Looking back now, the reason why "Farewell My Concubine" was able to win Chen the most long praise in his life is that there is a relatively small space for expression, because the space is small, so time is spared to let the story slow down at the speed it should have. Stretch (presumably this will not suit Chen's appetite, it is rumored that Chen was not interested in this book at first), in this regard, maybe Li Bihua who is behind the movie is very important, I don't know this, I have never read Li Bihua. What we saw later was that after what can be said to be the shameful failure of "The Promise" by Chen's Chronic Illness Exhibition Hall, Chen has been consciously narrowing down his propositions, no matter in terms of quantity or height, from "Mei Lanfang" to ""Mei Lanfang" Zhao's Orphan", but these two films are difficult to say successful, both accurately demolished their own stage in the second third. This is also a clinical symptom of his deficiency. A person who has never made an effort to define and deduce concepts has difficulty maintaining the intensity and density of expression for the length of a movie.
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