has been in theaters for many years, "The History of the Demise of the Romance of ", the great director of Cheng Er , and all the big-name stars have good acting skills. The plot, costumes, pictures, and music all reveal a full literary atmosphere. The Shanghai dialect, which is slightly procrastinated, is not easy to match. The "upper" society of the Republic of China, mixed with violence, betrayal, peach, and enslavement , plus the brain-burning effect of chaotic time and space, seems to be a filter for the audience's viewing level. The 150 million investment and the 123 million box office just illustrate its niche and outstanding features. Under the fine product, these are not a problem, watching movies have their own advantages, and making movies has a profit and a loss. So, is there really no problem here? Let us count down its four counts of . A crime of
: wantonly defamation of heroes and martyrs
(Wang Shouhua 1901-1927) (Mr. Zhou's stills)
In the film, Mr. Zhou, who was ordered to be buried alive by Mr. Lu, is based on the historical prototype of the early labor movement leader Wang Shouhua zz. The biggest problem with in this film is to vilify the revolutionary martyrs , , who have thrown their heads and blood for the working class, are righteous, steadfast and unyielding, and turned them into corrupt elements who feed their mistresses, accept bribes, and are as timid as rats. If Du Yuesheng and were buried alive with corrupt officials and worms who betrayed the interests of workers, why should Shanghai be frightened and afraid of fleeing to Hong Kong when Shanghai was liberated. I really don’t know how the film was reviewed and how it was reviewed? I think some people should be grateful in secret. Unfortunately, the "Law on the Protection of Heroes and Martyrs of the People's Republic of China" was issued a little late, and there is no retrospective effect in law enforcement.
Two deadly sins: eulogizing for the black boss
(Du Yuesheng 1888-1951) (Mr. Lu)
Mr. Lu in the film
knows the righteousness of the nation, loves brotherhood, and refuses the temptation of beauty, he lost his closest relative to resist Japan, a pair of people Have to respect the refined demeanor and tough guy style. And Mr. Lu's prototype, the Shanghai black boss Du Yuesheng, although he did not cooperate with the Japanese to betray the country, he did not have any close relatives dedicated to the resistance against Japan, and he was not full of loyalty. He opened casinos, smokehouses, and brothels , worked as a thug for Jiang bald , and worked as a chamber pot . Because of hoarding and the infighting of the "tiger" eldest son Jiang, he became a laughing stock in Shanghai. Mrs. Wufang is also an indisputable fact. May I ask, should learn to be a man from such a big gangster?
Three deadly sins: extreme contempt for the people at the bottom
(Huang Jinrong 1868-1953) (Mr. Wang)
The film tries to exaggerate all the elegance of the "upper" society of the Republic of China, even the male theft, the prostitute, the literary and artistic fan. As for the portrayal of the bottom, no simplicity, kindness, and humanity can be seen at all. bakery employee, Xiao Zhang, was playing tricks in pursuit of the boss’s daughter, but he was clever instead of being clever, and the boss made a table. Born in the countryside, Mazi Boyji, who was born in the countryside, is willing to abandon his old girlfriend and go to stay with a prostitute. The film shows these very ugly characters with thoughtful calculations and extremely ugly appearances. detains all the stupid, greedy, and unsympathetic characters to the people at the bottom of the society. As everyone knows, the beacon of personality that the film wants to establish, Du Yuesheng, the prototype of Boss Lu, was also drilled from the bottom of society.
Four deadly sins: secretly cursing the new era
At the end of the film, Mr. Lu left the city that once brought him infinite scenery alone and lonely. Just like the title of the film, it announced the final demise of romance. The gloomy and repressive tone seems to indicate that the city will no longer have a legend and no life. Mr. Lu's departure, as can be seen from his expression, was undoubtedly depressed and unfortunate. The vampire left the slave for him to exploit, which is undoubtedly the arrival of the end. But for others in this city, is this romantic demise, luck or misfortune? Compared with the black boss who covered the sky with only one hand,The young people who have left their hometowns, the women who sell themselves for survival, and those who have experienced the lives of the people, the feelings should be very different. and the real beneficiaries will not curse this era.
(Huang Jinrong sweeps the floor at the gate of the Great World Amusement Park, 1951)
In the film, Miss Wu said that the director meant that the film was made for people in the next century. Cheng Er, the director of the
film, also said in an interview, "The same movie, such as "The Death of Romance", some people like it, some people don't. After all, is a question of literary accomplishment ""
To tell the truth, this film still has a certain appreciation value in terms of pure technology, but from the value orientation of , it is disgusting, exuding the well-known hypocrisy, arrogance and stench up and down.
The so-called "literary accomplishment" has a class character. Below the tip of the iceberg are interests, positions, loves and hates that cannot be concealed.
Any trace of the "advantages" of these black bosses, whether it is for show or true temperament, it wants to magnify it thousands of times and brush the gold powder ten times. It seems that they are the only ones who are guarding, building, and loving this charming city. The pain at the bottom, the darkness of society, and the failure of the system have all been selectively blinded.
Unfortunately, no matter how cultured a hooligan is, he cannot become a knight.
and some so-called cultural people, they always enter the door with high arrogance, and they will always be sore at the waist and knees when they go out. Mr. Lu's bow at the Hong Kong Customs signifies the end of an era. And what the film intends to denigrate by igniting imagination is precisely the coming new era.
Just like the popularity of this film, the romance of the black boss, the romance of the old forces, will eventually die out in historical progress.
In the ten-mile foreign field where they used to call the wind and rain, the romance of the people has just begun.
