One night lingered, and the next day, although there was some nostalgia, Song Zheng still returned to the mainland by the earliest flight with the large army according to the original plan.

Until he left Lin Zhiling's home, Song Zheng didn't give Lin Zhiling any promises, because he knew that Lin Zhiling couldn't tie his whole life to him without hesitation like Zhang Jingchu.

In fact, even Tang Yan, Fan Bingbing, and Song Zheng didn't expect to follow him forever regardless of their reputation, if one day, Tang Yan and Fan Bingbing wanted to leave him and pursue their own happiness, Song Zheng would not stop him.

As for the relationship with Lin Zhiling, Song Zheng gave her the choice, if she wanted, of course Song Zheng would not refuse, if she really regarded everything as she said, Song Zheng would not be so disappointed.

Back at home, Song Zheng's life became dull, staring at the post-production of "The Happiness Line Behind the Dark Clouds" every day, occasionally going to the company to go around, or it was a party with friends, which was a lot easier all of a sudden.

Approaching the end of the year, for Song Zheng, the most important thing is the upcoming Chinese New Year war, this year Song Zheng is not a participant, in fact, the entire 1+1 company has no plans to add a dish to the New Year stalls.

However, Feng Xiaogang's "If You Are Honest, Do Not Disturb" is scheduled for the second day of the Lunar New Year, and Song Zheng, as the main investor, naturally cannot stay out of the matter.

This year's Lunar New Year files, the highlights are generally concentrated, Song Zheng has no new works, Ning Hao seems to have no intention of competing with domestic first-line directors, Zhang Yimou has no plans to shoot this year because of the work of the Olympic Games, and the upcoming New Year's war is mainly focused on Feng Xiaogang and Chen Kaige, the two domestic first-line directors.

After experiencing the frustration of "Wuji", Chen Kaige made a comeback, and this time, the works he brought were a little more heavy, one by one "Mei Lanfang".

To put it bluntly, Song Zheng has never understood why Chen Kaige wanted to shoot "Mei Lanfang", there is already "Farewell My Concubine" Zhuyu in front of him, Song Zheng is really hard to imagine that the movie "Mei Lanfang" can complete any form of transcendence.

It can even be said that "Mei Lanfang" has been shrouded in the huge shadow of "Farewell My Concubine" from the beginning, which may be Chen Kaige's fate, or perhaps, it is also his debt to repay the Golden Palm.

Of course, it can't be said that the movie "Mei Lanfang" is not good, in fact, compared with many Chinese filmmakers who are becoming more and more impetuous, Chen Kaige returned to filming after experiencing the embarrassment of "Wuji", and the work handed over can be called a masterpiece.

Everyone knows that "Mei Lanfang" is difficult to film, a national treasure-level character, not far from the present world, and his family is still alive, Chen Kaige is carrying the paper shackles that Uncle Mei Lanfang carried on his shoulders at the beginning of the movie, and there is more than one.

According to the structure, the whole movie of "Mei Lanfang" is obviously divided into three paragraphs, the young Mei Lanfang and Thirteen Yan fight in the ring, the marriage and extraterrestrial affair between middle-aged Mei Lanfang and Meng Xiaodong, and the middle-aged Mei Lanfang goes to the United States to meet the challenge and resist the obscenity of the Japanese invaders.

Yu Shaoyu, who has never had experience in film and television drama performance before, is quite amazing, worthy of being a person with opera skills, and it is convincing to watch. In the section of "A Wisp of Linen", lying on her side on the sickbed, her graceful figure and gentle posture only stretched her waist, and the little girl in the back row immediately exclaimed: It's so beautiful!

A man plays a woman, if he plays it well, he is really more feminine than a woman.

Wang Xueqi's Thirteen Yan is also a character who stands up to the sky, everyone knows that this is a character born from Tan Xinpei, of course, Wang Xueqi cannot have Tan Xinpei's spirit, but from the perspective of ordinary audiences, Wang Xueqi's performance has vividly shaped the image of an old artist who has been obsessed with Peking Opera all his life and regards Peking Opera as better than life.

In the stock market, Thirteen Yan's sentence "There is no shame in losing, but only if you are afraid is shameful" is to embolden yourself?

No, Thirteen Yan is leaving a message for himself.

Thirteen swallows lost to the sky.

Before dying, Thirteen Yan warned the young Mei Lanfang that although she was a ninth-rate actor, she had to watch the drama bigger than the sky in her heart. Just rush to this, Thirteen Yan is worthy of Mei Lanfang to call "grandpa".

An era has passed, Mei Lanfang stepped on the backbone of the Thirteen Swallows, the Thirteen Swallows are the backbone of Chinese artists, and this strong backbone was passed to Mei Lanfang between the ups and downs of the two brothers.

No one lost, in fact, Mei Lanfang also achieved Thirteen Yan, for a Peking Opera artist, it is already very relieved to be able to watch the back wave surpass the front wave.

If this movie is played here, although it is incomplete, it is actually quite a lot, because as soon as Li Ming appeared later, the whole drama immediately dropped points.

Yu Shaoyu drinks soup, which is called an elegant, and Dawn also drinks soup, which can only be said to be rude.

When the Four Heavenly Kings were in the past, Li Ming was also a chic mess, but it is a pity that to this day, Li Ming is not confused, not only is his body bloated, but his whole face is floating.

When Song Zheng watched this movie in his previous life, when he saw Li Ming's makeup, it was like watching "Painted Skin".

There is also an important character Qiu Rubai in the movie, Sun Honglei plays very expressively, and even has a bit of a sense of transformation, but overall, it doesn't match the whole drama at all, this is like Kobe Bryant in the late career, the personal score is the first in the NBA, but the team just can't win.

After watching the whole film, Song Zheng even felt that "Mei Lanfang" was more suitable than changing it to "Qiu Rubai", and the more brilliant Sun Honglei was, the bleaker "Mei Lanfang" became.

Qiu Rubai was deeply fascinated by Mei Lanfang from the moment he watched Mei Lanfang's play, and since then he has been crazy about Mei all his life, with ups and downs in life, but he has never given up.

If you don't go crazy, you won't survive, in "Mei Lanfang", the craziest demon is this Qiu Rubai who looks a little reckless.

What kind of feelings does Qiu Rubai have for Mei Lanfang?

He watched Mei Lanfang swallow his saliva, muttering loudly, with a strong desire; he watched Mei Lanfang interacting with other women, and he was jealous; he was lonely all his life, abandoning his official position, just to wait for Mei Lanfang's side.

It's a bodyguard, it's a secretary, it's an agent, it's a playwright, it's a propaganda team, it's a seeding machine.

It can be said that in the world created by the movie, only Qiu Rubai really understands Mei Lanfang.

It's a pity that Mei Lanfang doesn't understand Qiu Rubai, his dewy relationship with Meng Xiaodong is just a ripple of love, where does he understand Qiu Rubai's great love for him?

It can be seen that Plato is right, and love that transcends lust is the most true.

Qiu Rubai is the real Mei Party, and as for the other Mei Party, they all came with Mei Lanfang's idea.

In addition, "Mei Lanfang" also gave a direct description of the men, prostitutes, and trends in the pear orchard line, which is also a big breakthrough, and the old and ugly Second Master Lu naturally represents the evil forces encountered by Mei Lanfang.

Mei Lanfang's cousin Zhu Huifang played by Pan Yueming also has a real character shadow - Wang Huifang, this person has really existed, because he has taken the evil road, his life has been ruined, and after he is old and decrepit, he can only be coated with cement-thick fat powder on the stage and let others laugh at him, in exchange for a few life-saving money.

Although there are not many scenes, Pan Yueming's acting is really good, and he doesn't even lose to the original Feng Yuanzheng, but it's a pity that the screenwriter was a little stingy in the portrayal of this character, and did not give Pan Yueming more room to play.

But Li Ming, Song Zheng really doesn't know what to say, in the whole "Mei Lanfang", Li Ming is the worst actor. So there are so many good sentences, but they just can't come out with good chapters.

Even supporting roles like Ma San and Fei Erye are better than him.

Song Zheng actually didn't quite understand why he used Li Ming, after reading the list of producers, he understood that the emperor's figure was so magnificent, could he still use Li Ming?

Well, put aside Li Ming's failure, look back and watch the whole movie again, the quality is still very good, Chen Kaige is indeed attentive and attentive, after all, "Mei Lanfang" is a movie that cannot be lost for him, and he must prove that he is still a person who pursues art.

After watching Song Zheng in his previous life, he basically felt that Chen Kaige had completed this task of self-redemption, but the talent and domineering of "Farewell My Concubine" back then were gone.

Song Zheng believes that Chen Kaige definitely doesn't want people to compare "Mei Lanfang" with "Farewell My Concubine", because although the themes are similar, the overall creative environment and mentality are different, and the grasp of the characters and plot is also very far.

But looking at the whole "Mei Lanfang", this can be said to be a film in the shadow of "Farewell My Concubine", the most intuitive, the film structure is basically a copy of "Farewell My Concubine", "Farewell My Concubine" is childhood, adulthood and after the founding of the People's Republic of China, "Mei Lanfang" is a teenager, Mei Menglian and beard three paragraphs, the difference is that the three-stage characters of "Farewell My Concubine" are coherent and progressive, while the three paragraphs of "Mei Lanfang" are relatively independent, but they are coherent with Uncle Mei's letter, and the first two paragraphs are " It's not a shame to lose, it's a shame to be afraid" and iconic lines such as "Wanhua, not afraid" echo each other, as well as the overall feeling.

But in the third paragraph, this structural connection is broken, and at the end of the film, Chen Kaige tries to echo the previous part through the uncle's letter and Thirteen Yan's request for Mei Lanfang to improve the status of the play, but it is already very far-fetched, and the selection of this event is very unsuccessful.

Just imagine, if the last paragraph is replaced by Mei Lanfang's situation and encounter after the founding of the People's Republic of China, what kind of theme sublimation will this be, but "Mei Lanfang" can't do it, it's not that Chen Kaige subjectively doesn't want to do this, and objectively there are many factors that can't be said and can't be faced, so he has to give up many original intentions, Song Zheng feels that this may be one thing that makes Chen Kaige regret it for the rest of his life.