Since the two most famous prodigal sons in the world, Magellan and Columbus, opened up new routes one after another, and the steam engine was born, the concept of the global village was initially established before the Internet even existed. The mass migration of people is the most spectacular human behavior since the seventeenth century. After the Opium War, the Chinese went to San Francisco, New Gold Mountain, or Gold Mountain**. Different from the appearance of those pioneers and adventurers, there is less romance of conquering the world and more loneliness without branches. There is novelty and excitement, but more often than not, there is suffering. This has been quite piercing in "Sea Prisoner" directed by Li Wenhua. 
"Sea Prisoner" Hu Jinquan and Wu Yusen also moved the idea of filming "The History of Blood and Tears of Chinese Workers", but they did not practice. By the end of the last century, the mainland's overseas fever and the tide of immigrants from Hong Kong and Taiwan were in the ascendant. It shows that for too many Chinese people, they only put it in their hearts, but they do not have an exact embodiment in their actions. Due to more complex historical causes, when the mainland's cultural circles in the last century set off a fever for roots, Hong Kong and Taiwan went deep into the rootless complex again and again in their cultural or subcultural fields. Speaking of movies alone, Yan Hao, Fang Yuping, Yang Dechang, Ang Lee, Cai Mingliang, Tsui Hark, Xu Anhua, Wu Yusen, Kwan Jinpeng, Wong Kar-wai, Li Zhiyi, Chen Kexin, Luo Zhuoyao, Zhang Aijia, and even some movies of Jackie Chan. They all look out, bid farewell, and cover up with their own positions and positions. The loneliness of leaving home and the emptiness of returning home, invariably complete the gains and losses of identity, which is from one stranger to another, from geographical displacement to psychological turmoil. 、
As a result, wandering has become the most important and perhaps the only important motif in Chinese films. On the mainland side, Xie Jin, Wu Ziniu, Sun Zhou, Feng Xiaogang, Lou Ye, Wang Xiaoshuai, and Wang Quanan also have their footprints of different shades to stop or wander. What they are waiting for after looking through the autumn water is where the Yiren are, and the long-term vision of the coming day is often revised by the Tao and the long. The concept of China becomes rich here, so rich that it is indescribable. This is about the spiritual resonance of the entire Chinese world, and it is a sympathy that never needs to be remembered and never forgotten. 
Wang Xiaoshuai's "Seventeen-Year-Old Bicycle" Zhang Wanting is among them, she is not the most eye-catching. But her enthusiasm for the subject is the highest, from the earliest basically independent production, which achieved impressive results in "Illegal Immigrant" (the first film won Best Director at the Hong Kong Film Awards), to the recent "A Tale of Three Cities", it can be said that it has been drifting all the way. 
"A Tale of Three Cities" and "Autumn Fairy Tale" are her second works, and she invited two of Hong Kong's hottest superstars at that time, and also the most suitable screen couples in Hong Kong films, Chow Yun-fat and Chung Chuhong to co-star. Zhang Wanting's immigration song is not as violent as Luo Zhuoyao, she is delicate and soft, with the indifference of the world with this cool and hot. She is not as legendary as Li Zhiyi, she is daily, and she can evacuate those fleeting sorrows upstairs and downstairs and in the electric light. She is not as culturally inclined as Yang Dechang and Guan Jinpeng, and she is full of energy to go where will the Chinese people go. 
Autumn Fairy Tale In Zhang Wanting's view, people are in a foreign land, the flow of space cannot withstand the washing of time, and the watch has become the core prop of the whole film. No matter how chaotic the affection is, it is nothing more than a change of soup at this time and without a change of medicine. She also doesn't play the cultural difference card like Ang Lee, emphasizing the ineffectiveness of communication. What Zhang Wanting wants to say is that what about heart-to-heart, people still have to run to the old road of Lao Yan's flying streets. It is even more impossible for her to be like Xu Anhua's pain caused by personal experience, she seems to be watching the fire from the other side, but she can't help but empathize. Zhang Wanting's immigration trilogy (the other is "Eight Liang Gold", which is also very moving), specifically "Autumn Fairy Tale", is not so eye-catching, deep and even tragic. It hangs a period of emotional ups and downs with no beginning and no end and no fate in a corner of the country, letting the tide rise and fall, and the flowers bloom. You seem to feel that such a love affair is just as suffocating as it happens in Hong Kong. But I think that it is still in a different place, and that kind of encounter of being under the same roof and finding strange ways is more reasonable and more flavorful. If "Eight Liang Gold" says that "Autumn Fairy Tale" has a certain advantage in the same genre, it is that it does not over-emphasize the blind wear and tear of people's hearts caused by the change of geographical environment, and shoots another more sparse and long-term hateful place in life. Your thoughts can only wander in your mind, not in the more realistic river. The bow ruler is like this, and Li Qi is also like this, this is a more unguardable inconsistency, but it is more about the inability to go ashore in the heart. Chow Yun-fat played such a complete prodigal son, he played it so well, raising his hands and feet, full of drama, and densely covered with the most casual news in life. He doesn't have to deliberately enlarge his eyes and posture, he doesn't seek the gains and losses of one city and one pool, he just stands so stupidly, and he can stay with the weather in New York without getting tired of it. It's like he loves someone, he is obviously close to love and timid, but he always shows people with a stingy appearance. But I believe that most of the audience will be warmed by his deliberately hidden temperature. 
I like Chow Yun-fat very much, and when I first saw him in "Shanghai Tang", my eyes lit up. To this day, he still captures my attention. The actors in Hong Kong dramas are very life-like, and you have to get to know him as the plot progresses, and then release your love and hatred. Chow Yun-fat is not like this, he is very condensed. He doesn't accumulate our impressions of him through bits and pieces. As soon as he appeared, he told us that he was a man with a story, but we didn't seem to care about what had happened to him. 
He also mentioned his past, but it is easy for us to forget his prehistory and only be attracted by his desolation. And the bow ruler he starred in this time put away his solemn demeanor in the past, and used a series of small details that do not need to be carefully designed, but can still bloom everywhere, let us see the face of a more real person, are we also like him, mixing day by day, first dare not think about it, and then dare not even think about it. The bow ruler played by Chow Yun-fat often reminds me of the most famous tramp in the history of world cinema - Injiro. Chow Yun-fat is naturally handsome and compelling. But the bow ruler is the same as Injiro, both of whom are unwilling to overcome the childishness, and they are not enterprising. When you encounter a good thing, the more you are close to the door, the more you can't open your legs. They all gave joy without hesitation, and left loneliness to themselves. 
1987 was Chow Yun-fat's most dazzling year, and both Hong Kong and Taiwan gave him the crown of the best actor, and he felt adrift with a down-and-out attitude, and the most touching was this one. He has always been in the wind of Yushu, but none of his clothes are suitable and decent. He is not as wise and martial as his previous and subsequent movies, but can only spin in small cleverness and little fun. He can amuse people, but he can't reassure people. The whole film is not blindly gaining momentum, but it is deep in the bright and hearty, and the kind of unassuming literary and artistic tone has won my heart. Drinking, gambling, and fighting are all *** restless to the inner feelings, only time itself. The problem is always that if you buy a bed, you can't necessarily buy sleep. If you have a watch, you don't necessarily have time to keep track of it. Chow Yun-fat is racing against time, so handsome. It's just that the distance is the same, but the scenery is very different. Chow Yun-fat won the Taiwan Film Golden Horse Award for Best Actor with his extraordinary talent in this film. In the same year, he also won the Best Actor at the Hong Kong Film Awards for "Dragon and Tiger". When he accepted the award, he said with a smile: Gao Qiu (the protagonist of "Dragon and Tiger") defeated the bow ruler. In that movie, Chow Yun-fat has also been running forward, and he is also running and running, losing love. 
Dragon and Tiger Fengyun Finally, let's talk about the watch, to put it simply, Li Qi's watch bracelet is broken. When she was separated from the bow ruler, the two exchanged gifts, one watch and one bracelet. This episode is obviously stolen from the famous work "The Gift of the Magi" by the American short story king O'Henry. It looks a bit cliché, but with Chow Yun-fat and Zhong Chuhong, and Zhang Wanting here, it can give birth to another timeless and chic rhyme. The two did not cry in the face of such a difference, and everyone who watched the movie was afraid that they would not be able to cry for a long time. Chow Yun-fat held the watch and stood on the shore with an indescribable smile on his face. As soon as the camera turned, Chow Yun-fat was still on the shore, and he had stayed from dusk until late at night. The expression of time, just a few seconds, flies by. 
Let's take a look at the last scene, which is also the paragraph that best fits the word fairy tale in the whole film. Under the virtual focus lens, Zhong Chuhong walked on the shore with her students, and the light was still abundant at that time. But when she saw Chow Yun-fat, whom she hadn't seen for a long time, but who had already looked like a human, the light dimmed and the night was late.
The fairy tale does not necessarily refer to the later development of the bow ruler, but the two people who have fallen to the end of the world, and they cannot forget each other in the rivers and lakes after they get along with each other. They share a common concept of time, or rather, they have an inexplicable agreement on their sensibility to time. It should be said that the greater sense of wandering is to wander in the long river of time.