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 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

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

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

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.


电子邮件地址不会被公开。 必填项已用*标注

Copyright @ 2010-2019 澳门金沙总站 版权所有