The mirror
arrow penetrates the human body magically,
Who holds the mirror
and throws back our soul and heart
until we startled?
by Hardy
"Across the World"
Wish you a spring dream without trace
"Actually, loving someone is not to be with her forever. I like flowers, do you pick them and let me smell them; I like the wind, do you let the wind stop? Come down; I like clouds, can't you let the clouds cover me; I like the sea, should I go jump into the sea?" "Across the World" represents the romantic extreme of Wu Yusen's violent aesthetics, and it is in this popular trip of three people. . The combination of Fa Ge, Ge Ge, and Hong Gu basically dilutes the shortcomings of the plot. The simplicity of the Hong Kong film at that time, like the innocence that we have gone and never returned, is embarrassing and yearning. The actor's dominance in Hong Kong films often surpasses the director himself. For example, Stephen Chow's nonsense, he is basically an addition of actors and staff. Of course, we can't create the so-called exquisite niche, while spurning the entertainment of the public like this, and we look like a sunny day, and we can't mix more things into our dream machine.
It is true that the shallowness of Hong Kong films may not be what you see, and elegance is not simply piled together. In vain, I felt that my brother's smooth and childish cheeks, and his wicked smile, could all touch people who sincerely watched in the dark. What are the years? It was the programmer who looked at someone else’s black hair on the computer screen, and slowly shook off his white hair like snow on the keyboard. So those romances belong to the movie, and the woman's final destination is to fall under the dim lamp, next to some warm person. Driving a red Ferrari, romantic love never belongs to the peach blossom field, but only belongs to the extravagant and gentle city. Coupled with the beautiful brother, both men and women are fascinated by the face, careless eyes, as if you are close in front, but out of reach sigh, permeated the beautiful time in the afternoon.
Chun Meng Wuhen appeared at the corners of Fa Ge's joking mouth. For the first time, handsome men and beautiful women were rubbing their ears together, Hong Mei loved Fa Ge, Fa Ge loved Hong Mei. The second time is the end. It's a matter of fact. Hongmei and her brother go to live together, send brother's farewell, "I wish you all your spring dreams." Panic, crystal clear people, water-like things . "Go to Iraq, Iraq is the most peaceful, or go to heaven, where the air is the freshest." Fa Ge's understatement really makes time a thief of the years. Now there is no peace and prosperity. Love is all about the poor, the rich and the poor, and it is no longer pure and sweet. Even the reason why Taohuayuan does not exist has a lot to do with the size of people's hearts. Wu Yusen’s film language is very interesting. It makes the hero humorous and approachable, sometimes outrageous and sometimes innocent. At this time, the trio of Fa Ge, Ge, and Hong Gu dominates the tone of the graffiti. Without their fascinating and breathtaking charm, Chun Meng would be covered with secular dust.
Life roughly began to resemble the mutual love between Fa Ge and Hong Gu. At this time, it was the elder brother's secret love for Hong Gu, and the truth of life ended with the marriage of the brother and Hong Gu. As for the reunion of Hong Gu and Fa Ge, there is only the screen, let us watch over and over again, they have no trace in order to comfort our spring dream. The portrait of Modigliani as his wife in the film, including Modigliani's alternatives, are all reflected behind the poor painter. Love is the source of nourishing his art. The ending of the movie is always the best ending. We have also loved the clouds, the wind, the sea, the sea, and the people, and then they are scattered everywhere. Vulgarity and caressing elegance are not important, but most of us, in the chase of their beautiful clothes, have a glimpse of the longing and yearning revealed in the gaps in the horizon. The most funny thing is that we are too serious to live hard, and then look at them who are forever young and forget their worries.
Painting: Yuko Nagayama
-
-
-
-
-
-
-
-
-
-