Maybe Yan Geling felt that this description was too relaxed, as if the prostitutes were used to sitting in the Fengyue field, so they longed to be a schoolgirl once. In another lengthened version, she made changes, and the prostitutes were obviously a lot more entangled.

Only Zhao Yumo was righteous and awe-inspiring: "Let's go with the Japanese." Keep the students behind. ”

In addition to her little attendant Hongling's willingness to go with her, Yumo's proposition was strongly opposed by other sisters, and finally Yumo had to use the prestige of the prostitute leader and scolded them to "wake up":

"Okay, there's a kind of thing you are hiding here to the end, occupying other people's territory, eating other people's rations, and watching the Japanese drag those little girls away to the scourge! Who are you hiding to leave it to? Do you want to leave it to someone?" She is now like a spicy village woman, and she has been scolded several times when she says a word, but she is not sure who she scolds. "Hide it, hide it until you are reincarnated, reincarnate a good child, and be a schoolgirl too, and let the cheap ones come to give you a dog day!"

The drink worked, and the prostitutes soon "resigned themselves to their fate and meekly fell silent."

This version is very much in line with the account in Weitling's diary, but the prostitutes who scolded in the real Jinling Women's Courtyard did not accept their fate, but Weitling, but those good families who felt that they were clean.

The prostitutes are not awake, they just accept their fate, anyway, they are already unclean bodies, who is not to give, who makes their lives cheap, to live in this world is to suffer.

If there is any difference between the two versions, the biggest or only difference is here: the former version is that the prostitutes are happy to go, and the latter version is that the prostitutes are aggrieved and resigned.

If there is any major discrepancy with historical truth, it is the yearning of the prostitutes that Yan Geling deliberately portrays for the identity of "female students".

If the scene of a prostitute pretending to be a schoolgirl really happened, Qiao Feng thought that Yan Geling's imagination was reasonable: on the way to death, it seemed to be quite comforting to be the daughter who had long been forgotten by them.

Twenty minutes later, the kitchen door opened, and out came a group of young girls in black sailor dresses and top hats, their faces slightly drooping, their breasts in their arms like virgins who were annoyed with their own development, each with a Bible songbook under their elbows. They are the most beautiful group of "female students" in Nanjing. “

This is what I imagined, because the female students were a dream for them, and they pretended to be female students according to their dreams, so the beautification of dreams was added. Yan Geling once described.

But in Qiao Feng's view, such a scene may not really happen in historical reality: at the critical juncture of being humiliated and damaged, who cares about the daughter body that he once had? It was just a distant miserable childhood dream.

However, in Zhang Guoshi's film, the "student dream" is exaggerated again.

Think about it: If you knew that you would be on a dark and cruel road to hell after dawn, what would be churning in your mind tonight? Would it be the joy of finally being a "schoolgirl" or the fear of the humiliation and mutilation that was coming?

Obviously, in Zhang Guoshi's mind, the prostitutes' expectations of being students far outweigh the fear of humiliation and cruelty: newly cut hair, solemn new clothes, bright smiles, and a long and graceful song "Qin Huaijing", the wide-angle lens pulls out twelve beautiful women who are gorgeous, swaying, and graceful.

Yes, they are so beautiful, so gorgeous, as if the dawn of darkness will never come, they will always be the most beautiful women on the Qinhuai River, and the bloody mutilation and sacrifice they suffered were indifferently ignored by the audience, quietly forgotten by history, and decades later were picked out of the dust of history and became a consumer product.

Qiao Feng couldn't believe that such a movie could really touch the war scars on the hearts of Chinese.

It may be okay to cry a little, but it is difficult to do it when it hurts into the bone marrow.

In fact, with the economic tide surging since the 80s, the Chinese have long healed the scars, how many people have paid attention to the trauma of the Nanjing Massacre? Qiao Feng feels that most people do not have this scar in their hearts at all.

Even, for the sake of Sino-Japanese friendship and trade, the country has been trying to downplay those wars / Just like Black Sun 731, if it weren't for Qiao Feng's insistence, this movie would have been painted early for political reasons.

Instead of being like now, two months during the Chinese New Year, enough to schedule films, has pushed this restricted film to more than 20 million at the box office in Hong Kong.

As Yan Geling said, "The most tragic sacrifice in war is always women." Women are the ultimate spoils of the conqueror. The pain suffered by women is always doubled. ”

But in Zhang Guoshi's version of the film, this theme is not presented truthfully. In , three soldiers are picked up from the pile of dead by the corpses, and they don't even get a chance to fire a single shot in the whole film. In the Nanjing massacre, the Chinese soldiers were coaxed and deceived by the devils, tied up in a long line and taken to the river, and then machine-gun fire, and they died before they even figured out what was going on.

But Zhang Guoshi's film renders the heroism and fearlessness of the "soldiers" and kills the enemy until the last moment. Instead of the three wounded people crawling out of the pile of dead people going to the church to ask for help, it was the soldiers who escorted the girls out of danger all the way. It was not that the soldiers stayed in the church until the last moment and refused to leave, but they took the initiative to evacuate and fought a battle to defend the church from afar.

In Yan Geling's book, the three soldiers were fascinated by Zhao Yumo, and even Major Dai was dizzy in Yumo's soft "eye style", and even played ambiguous games. Compared with the image of the resolute and unyielding soldier in the movie, I believe that it is the truth of human nature.

Zhang Guoshi's tampering is not only Yan Geling's, but also a falsification and fabrication of history. So far, in that massacre, the Chinese soldiers never seem to have left behind the good stories of the war.

Qiao Feng wanted to tell Spielberg about the true record in Weitling's diary and Yan Geling's Thirteen Hairpins of Jinling, hoping that this film master who could make classic movies such as Schindler's List and Saving Private Ryan could use his perspective and film language to tell a more in-depth and real Jinling Thirteen Hairpins in the Boundless Massacre after the fall of Nanjing, which is different from Zhang Guoshi.