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In the screening hall, with the end of the interview session, the film began to be screened, and Song Zheng was really like an ordinary audience, sitting at the back of the screening hall, although just when he was interviewing, the host called his name several times and wanted to let him go on stage, but Song Zheng refused.

Today's scene of "Mei Lanfang", on the one hand, is to fight with Feng Xiaogang, on the other hand, it is just to return Chen Kaige's favor, if he really comes to the stage and works hard to promote "Mei Lanfang", when the time comes, it will be Feng Xiaogang who is crazy.

At the beginning of the movie, under the dim lighting, Mei Lanfang in her youth opened the locked box of her uncle with slightly trembling hands, and also opened Mei Lanfang's legendary life, of course, this legendary life has been interpreted and artistically processed.

When "Mei Lanfang" was released in the previous life, many audiences regarded this movie as a biography of this Peking Opera master, but in fact, "Mei Lanfang" should be regarded as a feature film, not a biopic.

Of course, this choice is clever and ingenious, and it is also very cautious, but it is really reflected in the movie "Mei Lanfang", which is not outstanding.

Structurally speaking, "Mei Lanfang" divides several things into three sections and skips the obvious, and in the end, I can't remember that this is a whole, which makes people unable to connect into the life of a legendary figure, of course, many parts are meticulous and sincere, and there is no lack of moving, such as the young Mei Lanfang picked off the invincible Thirteen Yan, Mei Lanfang met the love of her life Meng Xiaodong, and stopped singing for eight years during the anti-Japanese period that made Mr. Mei famous all over the world.

Overall, the whole movie is bounded by Mr. May's wedding, and about one-third of the first third is stunning, while the last two-thirds are habitually mediocre.

At the beginning of the film, it is a time when the sorrow of the past and the hope of the future are entangled. In this context, the conflict between Mei Lanfang and Thirteen Yan is logical.

The "paper shackles" that the uncle said lingered like a proverb, and escaping fate was a burden that the people in the pear orchard, including Mei Lanfang and Thirteen Yan, could not remove, but they could not be separated.

It's a pity that this power to connect with human nature has gradually disappeared in the film, the thirteen swallows are arrogant, conservative, strong, and moody, not only obsessed with the old yellow jacket, but also happy to show off the movie doll based on themselves.

The perfect interpretation of the character of Yan Shisan benefited from Mr. Wang Xueqi's "phenomenal" performance.

Mei Lanfang asked to change the play, which caused Thirteen Yan to have a mixture of grief and anger, which was the most glorious scene in the film, but it was a pity that this old man was only limited to the back of an era and the introduction of a new era.

Yu Shaoyu's young Mei Lanfang is also three-dimensional, flesh and blood, real and beautiful, his dreamy performance on the stage, the direct teacher empathizes with Qiu Rubai's love at first sight, if the film can be carried out in an orderly manner, then it will definitely be immortal in the palace.

It's a pity that the order was disrupted in an instant, and the muscles and bones were broken, and the whole film no longer had the tension that survived in elegance and calmness. The young Fu Zhifang, who originally belonged to Gillian, was removed by "light and shadow means", and it was at the moment when her hijab was lifted that the soul of the film faded out.

Since then, the complicated and trivial matters of daily life have covered the "paper shackles", although similar expressions are endless, but there is no longer the shock of the old and young fighting.

Mei Lanfang and Meng Xiaodong's sympathy and umbrella affection are not necessarily more natural than the pair of woolen gloves in "Half Life", and Li Ming here also seems to be haunting Shen Shijun's shadow.

Li Ming's femininity is more inclined to be woody, if it is calm, there is still some literary atmosphere, but there are a few sudden changes in mood as if coquettish.

In terms of emotions, Li Ming may not be as good as the Roaring Emperor, Meng Xiaodong of the International Chapter, lost between arrogance and frivolity, and the sparks between her and Mrs. Mei are not so convincing.

In contrast, Sun Honglei's Qiu Rubai really has a kind of "if you don't go crazy, you can't live", and everything from beginning to end shows his sincerity to Mei Lanfang quite well.

In addition to the absurdity of hiring killers, when he visited the United States, Qiu Rubai, who "came back from abroad", seemed to be in vain.

Qiu Rubai, who claims to be Shakespeare, should not be unaware of the habit of foreigners listening to opera, and a better explanation may be that he lacks some cultural relativist considerations.

In the later part of the beard and ambition, it is even more dissociated, talking about national righteousness, but lacking dense layout, and the fictional image of the Japanese army's literary and artistic soldiers is even weaker, and the form and appearance continue to show their fictional identities until they are shattered in confusion and pressure.

At the end of the film, it could have shown tepid, or the power of small words, but the result was somewhat unclear and unfinished.

The so-called anticlimactic, it seems that Chen Kaige can make a thirty-minute masterpiece, if it can be better, at least "Mei Lanfang" will become another peak of "Farewell My Concubine", after all, they are so similar.

This may also be a proposition that Chen Kaige can't get around, at the beginning, Chen Kaige wanted to shoot "Mei Lanfang", and everyone's first reaction was inevitably to compare it with "Farewell My Concubine".

Indeed, "Farewell My Concubine" has a pivotal position in Chen Kaige's directorial career, and it is also the most shining peak of his artistic career.

The success of "Farewell My Concubine" brought Chen Kaige internationally renowned fame and reputation, but also pushed him into a creative dilemma.

The joys and sorrows of Xiaolou and Chen Dieyi in the middle of the film lasted for half a century, and the ups and downs of half a century have created an immortal legend in this film history.

"Farewell My Concubine" itself has an excellent script full of dramatic tension, a struggling social environment, a wide range of historical backgrounds, and a rich variety of life, it is full of dramatic conflicts of life and death, and the sense of rhythm and impact have been perfectly exploded with the collision of dramatic elements, so Chen Kaige's movie legend was born.

But after stepping on the peak, Chen Kaige seems to have walked into a dead end on the road of film art, so that every work he creates in the future has always been habitually compared with "Farewell My Concubine", and the facts have also proved that Chen Kaige has never been able to climb another peak after "Farewell My Concubine".

Especially the "Wuji", which directly knocked Chen Kaige into the bottomless abyss and was impressed for several years, this "Mei Lanfang" successfully became a turnaround battle that Chen Kaige must win.

He coincidentally chose the elements of Peking Opera that he was best at and most successful as his first choice, but at the same time, he also stepped into the shadow of his artistic peak step by step.

The audience will not care about the fact that "Farewell My Concubine" and "Mei Lanfang" are completely different in genre, and the audience will only care about the advantages and disadvantages of the two with the same Peking Opera elements.

When Zhang Guorong took a leap with his own body and fixed the former screen legend into an eternal classic, whether the melancholy Li Ming could succeed in challenging became the focus of everyone's attention, and most people gave a negative answer to this early.

This is the sorrow of Li Ming, and it is also the tragedy of "Mei Lanfang".

This is also the case, Li Ming's performance in the movie "Mei Lanfang". can only be described as decent, without any bright spots, his gentle temperament did not play the slightest role in showing Mei Lanfang's character characteristics.

On the contrary, this kind of gentleness gives people a feeling of being out of state, just take the scene between Mei Lanfang and Meng Xiaodong, Li Ming's body movements are very stiff and cannot give people the feeling of a Peking Opera master, which constitutes an undeniable failure in the middle of the film.

The most commendable passage in the whole film is basically frozen in the first paragraph, and Yu Shaoyu, the actor of Mei Lanfang in his youth, gives people the feeling that he can definitely be described as amazing.

Yu Shaoyu played the whole process of Mei Lanfang from youth to fame, and it was also the most dramatic period of Mei Lanfang's early life experience.

The uncle's letter to him has always been an indelible mark in Mei Lanfang's heart, and the uncle hopes that he can become an ordinary person, not singing, and spend his life ordinarily, which is what the uncle realized when his life came to an end.

If Mei Lanfang accepted the uncle's idea, then there would be no cultural celebrity who shocked the world later, the young Mei Lanfang's passion to challenge the old school made him refuse the uncle's request in the letter, he did not follow the path that the uncle planned for him, on the contrary, he embarked on a historical road of his own.

It was at this stage that Mei Lanfang met the two most important people in her life. The first paragraph of the film is brilliant in the portrayal of the fate and emotions of these main characters, how Mei Lanfang became a famous character, why the third brother gave up being an official, and Thirteen Yan's last words are the most impressive plots in the first paragraph of the film.

Due to the "harmonious" relationship between the second and third paragraphs of the film, they can only gradually consume the advantages established in the first paragraph, and the story between Mei Lanfang and Meng Xiaodong is difficult to measure by the word "real".

The change in the relationship between Mei Lanfang and Meng Xiaodong should be a big change in the whole film.

The film repeatedly emphasizes the purity of Mei Lanfang, but it modifies Mei Lanfang's love life, which has a certain contradiction in Mei Lanfang's goal of repeatedly saying that she wants to be a "mortal".

Judging from the plot arrangement in the latter part of the film, as well as the storytelling, it is easy to feel a kind of sadness in the biopic. For a long time, China has lacked a true biographical film that can respect the historical facts of the characters and at the same time have the storytelling required for films.

"Biopics" that reflect the main theme are everywhere, but "biopic films" that tell legends are very rare.

After Hollywood entered the 21st century, one of the most obvious features is the rise of humanist films, which no longer simply advocate the main theme of the American style as in the past, and use a large number of explosion scenes to attract the audience's attention.

Biographical films are a very heavyweight film genre in American films in the 21st century, not to mention the biographies of characters produced in the new century such as "The Aviator", "Unstoppable", and "Wilderness Survival", let's say that in the 80s of the last century, Hollywood already had excellent biographical films like "Raging Bull".

They all have one thing in common, which is storytelling, freedom, and most importantly, legend.

The character of Mei Lanfang is legendary in itself and has a sense of the times. The period from 1894 to 1961 happened to be one of the most drastic changes in China's modern history, from the First Sino-Japanese War, the New Democratic Revolution, World War II, to the birth of the Republic, Mei Lanfang experienced all these things.

He has always lived a brewing life, all the joys and sorrows can be slowly precipitated and fermented at any time, and then become a kind of experience, this feeling is a bit like winemaking, a very flavorful life.

However, "Mei Lanfang" does not focus on showing this wine-making life legend, it focuses on several stories that have been discounted and re-arranged, so that the storytelling and sense of the times of the film are instantly weakened by most, leaving only those beautiful Peking Opera performances and stage lighting.

This is the creative constraint brought to Chen Kaige by "Farewell My Concubine", and it is also the creative constraint brought to biographical films by the Chinese film system.

Although "Mei Lanfang" has basically returned to Chen Kaige's directing level, and has achieved satisfactory results in character relationships and emotional portrayals, it is completely feasible to use "Mei Lanfang" to wash away the shame of "Wuji", but Chen Kaige's directorial skills may still be out of reach if he wants to rely on "Mei Lanfang" to return to the period of "Farewell My Concubine".

Like in his previous life, Song Zheng still couldn't hide his disappointment when he watched it, if the whole movie could maintain the quality of the first third, Chen Kaige would definitely have a chance to recreate the classic, but it was a pity that the whole movie ~~~~~~~ irreversibly declined all the way the way the moment Mei Lanfang unveiled Fu Zhifang's red hijab.

At the end of the film, Mei Lanfang, played by Li Ming, dressed in white, bowed slightly to many admirers, and said softly: "Thank you, don't follow, I'm going to play a role." ”

The play is a good play, the words are good words, the whole film is so far, gently and skillfully make a flower, and pass into the clouds, it seems to be a good ending, but ~~~~~ is missing a little charm and a little bit of strength.

Li Ming is not an actor who does not work hard, in addition to him, if you find another "Mei Lanfang" actor in the world today, I am afraid that at most it will only be with him. In the play, he has been trying hard to get close to Mei Lanfang.

However, this Mei Lanfang still has its form but loses its soul, and looks like it has no god.

Mei Lanfang should be a gentle resistant, you must know that Mei Lanfang is not resisting a certain person, a certain force, or a certain predicament, he is resisting an era.

First of all, when Peking Opera was transformed from an "old opera" to a "new opera", the general suspicion from industry peers and the majority of ticket holders, or even the slander of open guns and hidden arrows, was burdened with the pressure of "I can't afford to lose, and I will never turn over if I lose".

Secondly, it is necessary to resist the contempt and incomprehension of cultural giants and mainstream voices in society, including Lu Xun, Hu Shi and others, when the drama is transformed from "lower ninth rate" to "having identity", and is still burdened with the pressure of "can't afford to lose, and if you lose, you will never turn over".

What Mei Lanfang resisted was the vast majority of people in society at that time, when he was walking alone at the forefront of the times, the whole era was dragging him back.

Just "gentleness" can't resist, and there must be an incomparably firm and persistent inner force that supports him to drag the times forward, but this can't be seen in Li Ming.

Li Ming is still the same Li Ming, the Li Xiaojun in "Sweet Honey", the Shi Jun in "Half Life", just a gentle and elegant intellectual, not a fighter who overcomes obstacles, he learned Mei Lanfang's makeup, learned his posture and gestures, and even learned the steps of Peking Opera with a very professional level, but he didn't learn Mei Lanfang's fighting spirit and courage, because he has never broken with an era.

Once upon a time, there was a decisive person who played a similar excellent role, but it's a pity: there is no Zhang Guorong in the world.

On April 1, 2003, Zhang Guorong jumped from a tall building, declaring his complete uncompromising with the world, among the countless roles he left behind, the most brilliant is Cheng Dieyi in "Farewell My Concubine", that madness, unless reincarnated as a human, it is unattainable and impossible to copy.

In the film "Mei Lanfang", there are many places that need that kind of madness, for example: Mei Lanfang can't hope for Meng Xiaodong, the "favorite woman in her life", and her biggest wish is just to watch a movie with her, just when the two are about to make a trip, but the owner of the drama garden wants him to save the scene, this is a very symbolic plot, because if you miss "this time", you will also miss "next time", and you will miss it forever.

So Mei Lanfang said to the boss: "I can't go, I have something urgent." ”

The boss smiled: "What could be more urgent than saving the scene?"

Mei Lanfang said in a deep voice: "What if I have to make a mistake?"

The boss smiled: "You are not such a person. ”

Mei Lanfang stared into his eyes and said, "What if I am that kind of person?"

In just a few words, it was Mei Lanfang who desperately wanted to grasp the thread of fate in her hands, and it happened that there was a similar plot in "Farewell My Concubine": Duan Xiaolou and Cheng Dieyi removed their makeup backstage, Dieyi tested Xiaolou, saying that she wanted to act with him for a lifetime, Xiaolou realized that something was wrong, and smiled awkwardly: "Haven't you acted for a lifetime?"

Dieyi heard the intention of escaping in his words, and hissed: "No! A month, a day, an hour, is not a lifetime!"

They all want to grasp it but can't grasp it, Zhang Guorong's performance is to do his best, and the jade and stone are burning to fight in the past, but Li Ming just surrounded himself with warm water, as if he was angry but not angry, and all his anger was mentioned in his throat, but he didn't force his mouth, nose and tongue, and spit it out unremarkably.

The same realm, two performances, Zhang Guorong shrank all his crazy demons into his body, and spit out word by word, poignant, while Li Ming's lines are in the chest, the hero is short of breath, just borrowing the shell of "Mei Lanfang", not his inner words.

In "Farewell My Concubine", Zhang Guorong seems to be speaking from his heart, if he is not crazy, he will not be able to make a play, and he finally interpreted his life into a tragedy that made thousands of people cry and sad.