That year, I watched Liu Yifei's Peacock in the Night at the cinema, and when I saw the director made this movie, I wanted to watch it. After all, Chen Kun, Liu Ye and Zhou Xun Ye. Looking at this story today, it seems to be dog-blooded and tacky. But there are too many stalks to feel bad, and this movie is really different. First of all, Zhou Xun is really good. In fact, after reading it, I still want to talk about how Chen Kun is and how is Liu Ye, but I will talk about how little tailor is about Zhou Xun. I don't particularly like Zhou Xun. I haven't read several of her classic works, only the wind and the little tailor and the wind-hearer and the spoiled woman and Ruyi's Royal Love in the Palace. I went there by accident, I didn't particularly like it, but Zhou Xun moved me by the role in the play. Zhou Xun played, so he played a little tailor who read Balzac and walked out of the mountains, not a beautiful village girl who was abandoned by the educated youth. Her stubborn face was full of aura, and it was by no means weak. In the end, two men looking for memories came to the little tailor, but the little tailor didn't show up, which I thought was fine.
The little tailor returned home, and Mary Su was gone. The little tailor was disheartened and felt that it was not the end that Zhou Xun's aura face should have.
Perhaps, that's how the little tailor should be. It's a bit tacky to comment on worldly success. Balzac opened a door in life for the little tailor. The little tailor resolutely explored the world, and then flew freely, no longer nostalgic for the past. To her, the two educated youths were just guides when she was a young girl, and she didn't need to meet them in middle age.
She is a little tailor who is more transparent than the two men, not a flower that decorates the youth of the educated youth.
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