's "Flowers", which has been in production for four years, has finally come to an end, and has steadily risen slightly to the 8-point mark on Douban. When I was watching it, I suddenly felt that this drama had many similarities in spiritual core with "A Dream of Red Mansions", and I couldn't help but interpret it along this line of thinking. First of all, the "Red Mansion Stalker" did appear in the play. Lingzi and Abao, who had just returned from Tokyo, were having a crab feast at home, and an excerpt from the Yue opera "Dream of Red Mansions" floated outside the window. Reiko also complained that she didn't like Sister Lin and that she couldn't win a man, but she was not like that. She didn't know how many men liked her. Reiko is the best at talking tough, and so is Sister Lin.
"Flowers" has reached a high degree of tacit understanding with top classics on one small thing, that is, using food to metaphor the relationship between people. Mr. Bao went to Huanghe Road not to eat, but to discuss business. If he really wanted to eat, he would go back to Tokyo to have rice noodles. In the third episode, Lingzi complained that he was very particular about his rice and tea, and the ingredients for the side dishes were not bought casually on Huaihai Road. I want bad fish from Qibao, chicken feet from Sichuan Sha, pickles from Zhujiajiao, and cakes from Chongming. The posture of this parallel sentence is not like Wang Xifeng introducing "eggplant" to Grandma Liu in the Grand View Garden. Real aristocrats compete and set standards on humble ingredients. The soaked rice in Tokyo at night has a worldly atmosphere. Although the taste of soaked rice is enhanced by carefully selected ingredients, it is still not as good as homemade carbs at banquets. Li Li from Zhizhenyuan came to visit and refused to eat pao rice, indicating that she could not mix with the market.
Bao always eats differently with different women. With Lingzi, the main thing is Mantanghong. What I ate with Miss Wang were all street snacks, mainly pork ribs and rice cakes, but no matter how tightly the two ingredients were stuck together, they were eaten separately. Spare ribs are pork ribs, and rice cakes are rice cakes. It's like two people can't live together as one person no matter how close they are. As for hot pot, Mr. Bao only needs to eat with two people, one is Xuezhi (Beidi) and the other is Li Li. When eating hot pot, the heat rises, adding a mysterious color to the beauty. Only close people can eat hot pot, because chopsticks stained with saliva will search for ingredients in a pot. Li Li herself is a catfish, aggressive and loves to eat meat (money, profits, etc.). As soon as she came to Huanghe Road, she inspired the fighting spirit of other shop ladies (salmon).
has many primary and secondary relationships in "A Dream of Red Mansions". Let’s talk about the principal and deputy first. Li Li works well with Manager Pan and Min Min, just like Jin Chai and her personal maid in Grand View Garden. They are similar in some spiritual temperaments. Manager Pan is calm, Min Min is bold, Li Li Li is the master of all things; although Lu Meilin and Xiao Jiangxi are love rivals, both superiors and subordinates have the courage to use unscrupulous means and take the wrong approach, and the internal injuries of infatuation and blindness. Let’s talk about the correspondence. Mr. A, who committed suicide by jumping into the sea, drove a luxury car of the same brand as Mr. Bao’s “parting gift” to Ms. Wang. The mirror relationship between Mr. A and Mr. Bao, that is, Zhen Baoyu and Jia Baoyu, is nothing more than a matter of matching love and profit.
Uncle is a bit like Jia Mu. He is very secretive. For example, he has a mysterious address book and can contact the personal chef who negotiates with Hong Kong businessmen. The daughters of Hong Kong businessmen treat him with respect; For another example, he only needed to fold a piece of paper and give it to Li Li, so that Li Li could win a complete victory in the battle to defend the Yellow River Road. When the building was about to collapse, Jia Mu opened her self-deprecating eyes and arranged the escape route for her children. Of course, a perfect correspondence between
is impossible. I think when Wong Kar-wai was filming this work, he didn't even use much of the original novel "Flowers", so it is even more impossible to pay tribute to "Dream of Red Mansions". The surprising and lamentable similarities between these works are essentially evidence of the survival of cultural genes. We instinctively accept the insignificance and powerlessness of individuals, but we also firmly believe in its survival wisdom. As long as they are alive, people have the opportunity to conspire with time to smuggle a brief encounter into a long and beautiful emotional memory, and they will definitely find a way to treasure it like a seed, waiting for the chance flower to bloom again.
