Looking forward to, looking forward to, the TV series "Flowers" that everyone was looking forward to has finally unveiled the veil of mystery. However, what is surprising is that the reputation of this drama is in stark contrast to its popularity, as if it is a ** double heaven. A wave of bad reviews and complaints on the Internet are like falling leaves in autumn, which makes people sigh for the fate of this show.
What has been criticized is the exaggerated and greasy style, the editing is chaotic, making people feel like they are in the chaos of advertisements and PPT. As soon as I read this, perhaps in most people's minds, the name that comes to mind is none other than Guo Jingming. The "Little Times" series of movies directed by him is empty, pretentious, and has been criticized by **, as if it is a visual feast, but it lacks an inner soul.
There is no harm in comparison, but after watching the suspension and artificiality of "Flowers", many viewers feel that its photographic composition is simply like a copy of "Little Times". They felt that Wong Kar-wai's directing skills were not as good as Guo Jingming, and even threatened to re-score "Little Times" and give it a higher evaluation. "
Over the years, Guo Jingming has been labeled as hypocritical and exaggerated, as if no matter how hard he tries, he can't get rid of their entanglement. He has always been the object of people's cynicism, and he can't get rid of those merciless ridicule and doubts.
The six episodes of "Flowers" came to an end, like a night of stormy rain, which made people marvel. Although this play has only shown the tip of the iceberg so far, the audience has already deeply felt its hard and gorgeous style, the feeling of being high above and far from the world, as if it is a magnificent picture scroll, intoxicating. However, such an atmosphere gives people a sense of ethereal spirit, which is far from the fireworks that people expect from the market. It's like being in a bustling palace, beautiful but strange and alienating.
Wong Kar-wai, a Shanghai-born but Hong Kong-raised film master, is unfamiliar with his hometown's bygone years. The Shanghai he presents is not a real historical reflection, but a longing and yearning in his heart. His lens captures the Shanghai style of his imagination, which is an extension of the plot of "In the Mood for Love". It's like a painter who paints the world in his mind with a colorful brush, rather than a mirror image of reality. The Shanghai he portrayed is a unique artistic expression, an interweaving of emotions and memories, a dance of prosperity and loneliness.
Hu Ge is not Tony Leung, Ma Yili is not Maggie Cheung, they can't only rely on beautiful shots and exquisite pictures to deduce the deep background of "Flowers", showing the prosperity of Shanghai Beach and the fireworks in the alleys. The sound of dogs and horses, and the lights are beautiful, but they can't touch the soul of this work, and make people feel the real style of Shanghai.
Speaking of which, I can't help but feel a lot of emotion. Wong Kar-wai, the famous director in the film industry, has made the audience intoxicated with his unique film language with a series of masterpieces such as "Chongqing Forest", "The True Story of A Fei", and "In the Mood for Love". Now, he has become a foil for others, which is really regrettable.
Wong Kar-wai's TV series encountered Waterloo while testing the waters, which is sighing and thought-provoking at the same time. The key reason for this is that he failed to truly follow the local customs. Like a kite floating in the air, his work fails to reach the ground despite flying high, and his work fails to truly take root in the viewer's heart.
In short, if you don't dig deep into the background and culture behind the books, and fail to accurately grasp the real Shanghai style of the 90s, but just copy the successful models of the past, then the work you create will inevitably be flashy and unrealistic, and will not be able to touch people's hearts. It's like a rootless duckweed, an empty bubble, which seems to be prosperous, but in fact it is fragile. Such a work may win temporary applause, but after all, it is difficult to stand the test of time and become a real classic.