没见过这么自恋的

By admin in 教育 on 2019年8月31日
  • Ma’s recollections of a Gallic romance mirrors the director’s
    eight-year marriage with a Frenchwoman, while the materialistic Wanyan
    Ying and the artistic Wu Liu (played by his own wife) could be seen as
    Jiang torn between commerce and culture – maybe it’s time for Jiang to
    step off his pedestal, cast his cynicism aside and engage with the real
    crossfire beyond his own comfort zone, and to reveal the state of mind a
    population who think they are calling the shots, but are actually only
    being stood there to be shot
    at。如今的姜文已经证明了一位电影导演对于其自身和他的历史,会有无可避免自尊心驱逐计划——马走日法国式的浪漫回忆映射了他和一个法国女人八年的婚姻,而唯物主义者完颜英和艺术家武六(由他妻子饰演)可以被视为姜文在商业利益和文化追求上的进退维谷——也许是时候让姜文从他的基座上走下来,把他的玩世不恭扔到一边,离开他的安全领域去加入真正的火线战争,如揭露某些人的心理状态——那些自认为在发号施令,实际上却在站在那被射击的人。

At long last, director Jiang Wen delivers viewers an accessible comedy
“Let the Bullets Fly” but the allusions and metaphors are still buried
too deep to be easily comprehended.

澳门金沙总站,Now that Jiang has committed

Like every previous movie by the actor-turned-filmmaker, “Let the
Bullets Fly” oozes his personal style, or rather, his own likes and
dislikes. This is actually an invaluable part of the movie as many of
his peers in China place money over quality and thus produce mediocre
and homogenized movies. But the problem with Jiang is his inflated ego
and petty shrewdness.

Maverickactor-director Jiang Wen continues to jab at Chinese history
with asatireabout the fallout of an over-the-top beauty contest in ’20s
Shanghai。不按常理出牌的导演,同时也是演员的姜文,用20世纪20年代上海言过其实的一起选美比赛的改编电影,继续在中国历史上猛敲了一记。

Three years ago “The Sun Also Rises”, categorized by many critics as a
postmodern flick with a touch of magic realism, baffled millions of
Chinese movie goers. Being part of the confused masses, I could neither
grasp the obscure storyline nor the connotative meanings in it.

澳门金沙总站 1外媒看中国:《一步之遥》用力过猛

Jiang Wen’s fourth directorial work, which he also stars in, “Let the
Bullets Fly” takes place in a remote South China town in the 1920s. A
daredevil bandit Pocky Zhang Mazi (played by Jiang Wen) kidnaps an
imposter Ma Bangde (played by Ge You) when Ma marches to Goose Town as
the fake mayor. Realizing the scam, Zhang himself masquerades under the
name of the new mayor and seizes power. But his inauguration and
acquisition of power displease the local plutocrat Huang Silang (played
by Chow Yun Fat). Therefore, a battle of wits and guts between the two
clans kicks off.

But a mish-mash of references a masterpiece does not make. Unlike his
brilliantly barbed, sensitively structured and meticulously
multi-layered 2010 hit Let the Bullets Fly, Gone With The Bullets –
described as the second installment of a trilogy of gun-slinging satires
set in tumultuous, 1920s China – is a sprawling, episodic spectacle
reading less like a j’accuse of social malaise, and more like a record
of a self-styled auteur’s ego going completely into overdrive, as he
indulges in shaping his lead character (played by himself) as a
misunderstood and victimized idealist, while unleashing a torrent of
supposedly clever bites at the hands who feed
him。但是这部致敬杰作的混合物没有任何意义。不像他才华横溢的佳作《让子弹飞》(2010年)里绝妙的讽刺,敏感的结构和一丝不苟的多层次构架,《一步之遥》——作为其子弹三部曲的第二部——用吵吵闹闹喧嚣不堪构起一部讽刺诗集,20世纪20年代的中国——笨拙的前行,插话式的场景看起来不太像是社会疾病的抨击,更像是自封为电影导演的自负到彻底失控的一次记录,因为他沉浸于塑造他的主角(他自己饰演)成为一个被误解的,受到伤害的理想主义者,他用释放才华激流的方式在饲养他的这群人手上狠狠咬上了一口。

One thing you might get at the end of the movie, if nothing else, is a
better look at the director’s personality: his narcissism and an unduly
high opinion of himself.

What makes Yan’s case legendary is not the crime itself, but its
fallout: the case at once scandalized and mesmerized the city’s
chattering classes, with the man’s trial and subsequent execution
leading to entrepreneurs staging plays, stand-up comedy shows, musicals
and even making a film out of the incident. It’s perhaps ironic that
Jiang is to mock those transforming the so-called Yan Ruisheng affair
into entertainment by, well, making a film which transforms the incident
into a film comprising scenes reminiscent of stage plays, stand-up
comedy and a
musical。让阎瑞生案名声大噪的不是因为这起犯罪本身,而是其附带后果:上海那些爱好八卦的中上级阶层马上被这个案件震惊和迷住了,由于这个案子,阎瑞生的审讯和随后的死刑被改编成企业家编排的舞台剧,单口相声表演,音乐剧甚至是电影。也许讽刺的就是,姜文想要嘲笑这些所谓的,把阎瑞生一案变成娱乐笑料的改编,将这起案子编成了由怀旧的舞台剧,单口相声和音乐剧的杂烩电影。

Fortunately the 132-minute movie develops in tense pace with a compact
storyline and some jokes, which at least offer some entertainment. So,
if you don’t bother to decipher the subtle meanings that the director
takes a lot of pride in and that are said to successfully escape the
censorship, then you just might enjoy this movie.

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