"When it comes to Liu Yiqian's acting skills, it is indeed not bad, she is a rare actress with good acting skills in recent years, she can not only act in TV series, but also in movies, and the roles she can play can basically break through the limitations of her personal appearance and act like anything.

However, I personally think that the problem with this movie is that the director and actors are very unfamiliar with Xiao Hong's life.

They can't really understand Xiao Hong, and they haven't had similar life experiences, so they can't express themselves truly and powerfully in their shots and performances.

This actually reminds me of Maggie Cheung's role in "Ruan Lingyu", of course, relatively speaking, Ruan Lingyu's experience is compatible with Maggie Cheung, but Maggie Cheung can play her well, more because of her amazing understanding, that is, it is really not so easy to be an actor, or it is not so easy to be a good actor.

It is not difficult to just want to be an actor itself, as long as he is in front of the camera, the director will cry when he wants to cry, laugh when he laughs, run when he runs, jump when he jumps, and he can finish filming a scene with mixed mixing.

But if you want to be a good actor, it's too difficult, it's a bit like solving a math problem, it really requires very complex thinking, perfect logic, step by step slowly deduce, and use strong control to firmly control every trace of your muscles and eyes, and show it properly, in order to constitute a complete performance, which link goes wrong, will make the audience instinctively feel wrong, and then it is a play.

For example, if an actor wants to play a poor man, how should he play it?

The point here is not how dirty and old clothes he is going to wear, but he has to first figure out how this poor man became poor, how he has been poor since he was a child? Or was it rich before, but then poorer? How poor is he? Can't afford to eat, or don't have the money to buy a house? What is his personality? Do you believe that you will be able to get out of poverty, or do you live in poverty?

All these different premises will lead to different actings, if you don't understand this level, and just rely on instinct to play a poor person who only exists on the lines, then the character must be false.

The audience watchs, although it will not be such a systematic criticism, but instinctively feel that something is wrong, they will feel that the character is fake, and then they will feel distrust of the story he performs, and then the whole performance will naturally collapse.

It's a pity that most actors don't even have the patience to read the riddle after reading this kind of problem, let alone guessing the answer to the riddle, occasionally there are one or two who have a heart, but also because they are trapped in their limited experience and understanding, and they sink into the sand, and there are too few actors who can really show the characters naturally in front of the camera, and now even the stylized performance is already good.

The movie "Golden Age" doesn't make me feel like this, at least the actors don't act at all in their performances, so in my opinion, this is a great success, because she is playing an illusory character that no one has ever seen, but the character itself should be real, and everyone has certain illusions about her.

I was really surprised to be able to play such a fictional role to the point where I felt very real, and it also made me feel the strength of the actors themselves."

"The Golden Age is the work of Hong Kong literary film director Anhua Hui. It uses a documentary-like method to piece together the short and embarrassing life of Xiao Hong (1911-1942), a female writer of the Republic of China.

It is said that every sentence and detail in the film has a historical source, which is true.

For example, the title of the film comes from a letter written by Xiao Hong to her lover Xiao Jun, "Freedom and comfort, calm and leisure, the economy is not oppressive at all, this is really a golden age, living in a cage."

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Of course, this is also understandable, after all, Xu Hengzhou is not the absolute protagonist in this movie, his protagonist is Liu Yiqian.

And Xu Hengzhou is not even the director of this movie, nor did he participate in the production process of this film, nor is he the investor of this film, so even if this movie is not a good box office performance, it does not break the myth that "Xu Hengzhou's production must be a high-quality product".

On the contrary, in fact, due to the addition of Xu Hengzhou, as well as Xu Hengzhou and Liu Yiqian, the two old partners on the screen, co-starred in this movie, it achieved considerable popularity at the very beginning, and the box office of this movie is perfect compared to the box office start of director Xu Anhua's previous films.

So even from another aspect, this once again confirms the statement that all the film and television works Xu Hengzhou participated in are high-quality products.

Especially this movie, although the current box office is not as brilliant as everyone imagined, but it is not too bad, and the point is that this movie was sent to major film festivals, and now it is reported that the probability of this movie winning is very high, and all the judges have a good evaluation of this movie, and they think that this movie is definitely a dark horse work that can impact all the film festival awards this year.

And such a movie, which is considered very good by all the judges and even all professionals in the entertainment industry, why can't it be unbeatable at the box office, surpassing all other movies in the same period and even not as good as this movie?

The problem probably lies in the fragmented narrative adopted by the film.

The fragmented narrative model is an important hallmark of postmodernist cinema.

The so-called "postmodernism" is a trend of thought that emerged in the West in the 60s, reflecting the rebellion of the new generation of young people against the mainstream culture and their own spiritual confusion.

The "postmodernist films" originated in the 90s. The film uses montage techniques, relying on the splicing of fragments to carry out the narrative.

In the movie "Golden Age", the fragments are those fragments of historical materials scattered in many memoirs.

However, even if the screenwriter takes great care to collect all these fragments, it is far from enough to make them self-consistent into a complete story.

Relying on the character fragments performed by Liu Yiqian alone, it is impossible to restore Xiao Hong's complex life.

So a group of historical figures such as Bai Lang, Hu Feng, Xu Guangping, Nie Xuanxuan, Ding Ling....... They all acted as the connectors of the fragments, jumping out of the plot from time to time and explaining to the audience.

In the "Rashomon"-like opinions, Xiao Hong's life experience was finally pieced together.

In order to escape the marriage, Xiao Hong eloped with her married cousin, and after failing, she went back to live with her escape partner Wang Enjia.

After being abandoned by Wang Enjia, she quickly became a lover with Xiao Jun while pregnant with Liujia.

As Mr. Zhou said, after "Nala" left, there were only two paths, "either to fall or to come back....... And the other one is to starve to death."

So when she broke up with Xiao Jun, Xiao Hong had already gained a firm foothold in the literary world, as she said in her letter, "the economy is not oppressive at all".

But she hurriedly got married with her ex's child again.

As it turned out, it was another disappointing choice.

The husband she longed for who knew how to be "considerate and loving" actually abandoned her in times of crisis and went to the rear alone......

In the film, Ding Ling commented on Xiao Hong: "As a writer, why is she so less sophisticated, probably women are easy to maintain purity and fantasy, maybe it is because she seems a little immature and weak at the same time."

Xiao Hong does have a lot of contradictions, which is also the reason for the controversy of later generations.

Some people say that she is brave, strong, and straightforward; Some people also say that she is willful, weak, and watery.

What kind of person is Xiao Hong? Why is the love road so bumpy? Is it unladylike or self-inflicted? Where is her literary talent? Why is it favored and affirmed by Mr. Zhou?

However, the film's fragmented narrative shows the audience that it has no answer and has no intention of answering

These questions.

Not only does the fragments lack coherence, but they also disrupt the order of time and space, making it more difficult for the audience to stitch together the storyline.

For example, the story tells that in 1934, when Er Xiao received a reply from Mr. Zhou and was about to meet with this great god of literature, the camera suddenly turned, and Xiao Hong appeared lying on the bed recalling the past meeting with Mr. Zhou.

If the audience doesn't know much about Xiao Hong's life, it must be very inexplicable to see this picture.

In fact, this is the scene before Xiao Hong's death, that is, in 1942, in Xiangjiang, the man is Luo Binji, he will not officially appear until the end of the film, and accompany Xiao Hong through the last month of his life.

Cutting the timeline and collaging time arbitrarily is a common technique for fragmented narratives. At the same time, the "decentralization" of multiple stories and no protagonists is also a characteristic of fragmented narratives.

The film is titled "Golden Age" instead of "The Biography of Xiao Hong", presumably intended to portray a group of characters, not just one Xiao Hong.

Trying to keep each character free from flattening and facialization is probably what the director is pursuing. For example, Xiao Jun, who has a fiery temper and is merciful everywhere, has his chivalrous and tender side, heroic and righteous.

Even Wang Enjia, who abandoned Xiao Hong in the hotel in the middle of the road, had his own grievances and hardships, and he was violently beaten by his brother for accepting Xiao Hong.

The most impressive characters should be Mr. Zhou and Ding Ling.

The movie gives Mr. Zhou a lot of details of his life. Let him go from a ruthless fighter with cold eyebrows to the world, and become a kind old man with fireworks.

For example, his cigarette case is green and white.

The green listener fills the cigarette and smokes it himself, while the white listener fills the cigarette and entertains the guests.

told others that his son Haiying didn't like his name very much, because there was a female character under the word baby.

also confessed that he was not generous.

As for Ding Ling, her appearance was heard of before anyone saw her. The audience first learned from Mr. Zhou that she was under house arrest in Nanjing, and "the inside story is difficult to know".

The experience of Ding Ling being under house arrest for three years is indeed a dark spot in her life, and there is inhumane pain in it.

But after she appeared, she was in stark contrast to Xiao Hong, bold and rude, very enthusiastic about the revolution, and had firm political beliefs.

The shaping of the group portrait of the characters weakened Xiao Hong's role and made her image even more confusing in the commentary of everyone. But if you just watch Liu Yiqian's performance, then Xiao Hong only has a strong tone of life----- left.

Even when he failed to elope, went home in despair, and was forced to move with his family overnight, Xiao Hong's face was raised high, without any sense of frustration.

When he took refuge in Wang En, the other party's brother came to Xingshi to ask for guilt, and Xiao Hong glared at him proudly.

In the face of Xiao Jun's increasing coldness, she didn't have a seizure, but just reluctantly pressed the cigarette butt into her skin.

Before the fall of the city, Duanmu left her alone and left first, Jiang Xijin asked why Duanmu didn't take her, she said heroically, "*** why do you want him to take it." With a big belly, he went to the river to catch a steamer with his luggage alone, but he fell to the ground heavily, but there was still no grievance or sadness on his face, and he talked to the lame veteran who reached out to help.

It seems that everyone around her is worried and sad for her, but she herself is not impressed. What a fierce life!

Although the director uses a fragmented narrative mode to let everyone dictate history, he tries to create an objective, rational and unbiased narrative tone.

But if you remove the narration and comments of relevant personnel, Liu Yiqian's interpretation of Xiao Hong is actually very domineering.

It's not the weak, sentimental, and tearful Xiao Hong in Xiao Jun's memoirs at all.

In front of the audience is Xiao Hong, who has been defeated and fought repeatedly, and will never admit defeat. This kind of "Xiao Hong" is the psychological projection of director Xu Anhua on the characters.

In psychology, the projection effect refers to the tendency to attribute one's own characteristics to other people.

Just like all the roles played by Xu Hengzhou, I feel that in general, whether he plays a prisoner or a madman, an ordinary sunny teenager, or a slightly greasy middle-aged man, in the clips he starred in, I can always see the inexplicable light flashing in his eyes, and those lights are called hope.

To be honest, I think I like to watch the movies Xu Hengzhou starred in, including all the film and television works that Xu Hengzhou shot as a director.

Although the style of his works is very different from the works he has photographed, and each work may be able to bring people different feelings and surprises, all of them have such a quality that can make people look back a few times after watching them, and then have a trace of hope for the future in their hearts.

It's just so rare.

Every time I face difficulties in life or work, when I finish looking at Xu Hengzhou's works, I can always get such and such strength to support me to continue to walk and support me to overcome this difficulty."