Green tea film review

Wu Fang's story was interesting at first. It was the first time they talked about makeup artists in a teahouse in Wu Fang. Because of Jiang Wen's "gag", the story is dynamic and appears in the form of dialogue, and it is not annoying because enough is enough. But what people can't stand is that the next encounter between the two continues this story, interspersed with Fang Lijun and Lang Lang, interspersed with blind date, but that story, which is uncomfortable, even seems to be an unfortunate story that deliberately creates the root of the heroine's melancholy personality, and really can't give people more pleasure. It makes everything dull and feels like reading a novel. Narrative tone is a very common novel tone, just like a scene in a movie: there is only one dish on a table. This makes people impatient. There was almost no laughter in the second half of the film, just when people began to get bored and started to walk away, a dramatic climax appeared. Jiang Wen begged Lang Lang to replace Wu Fang. She used green tea to tell their fortune. Her fierce words didn't save Wang Haizhen's face. The atmosphere became tense, Wang Haizhen was angered, her boyfriend was angered, and finally Lang Lang was angered, and Wu Fang appeared. This period of tension and excitement has fully mobilized the audience's emotions, which is tantamount to watching a detective suspense movie. Then Jiang Wen and Zhao Wei run, like a river finally crossing a narrow canyon and rushing into a wide river, splashing countless exciting waves. This ending is undoubtedly wonderful. Du Kefeng's photography is the only reason why this film can be watched. When he filmed Lang Lang playing the piano, he first showed a side face, his lips protruded in the picture, and then his neck. This machine seems to be spiritual, and it gently expresses his love for this subject. There are also lotus flowers, hands under ground glass, and so on.

Abandoned by his girlfriend, Chen Mingliang met an old-fashioned graduate student, Wu Fang, on a casual blind date. In order to break the embarrassment of getting along with others, Wu Fang told a bizarre story. This story brings Chen Mingliang closer to Wu Fang's inner world day by day. At the same time, I met Lang Lang, who plays the piano in the bar. Both Wu Fang and Lang Lang like drinking green tea. There is always a cup of green tea in Chen Mingliang's eyes. At the same time, the tea slowly stretches out in the water ... This film is directed by Bird, starring Jiang Wen and Zhao Wei, Du Kefeng photography, Su Cong music, Wu Lala recording, Han Jiaying art, Wang Haizhen and Gao Feng. Bird also personally made a guest appearance with a man dating Zhao Wei. The story of this film is relatively thin, but the actor's performance makes up for this deficiency. Jiang Wen's pursuit of women is very interesting. The sentence "You have a rainbow in front of you, so you don't have to go out to experience the storm" makes people laugh. Zhao Wei has been transformed into two identities, one is introverted in man show and the other is full of amorous feelings, which also shows her efforts to get rid of the image of "Little Swallow". (People's Network Comment) The film created a mystery, but this mystery has no argument basis, no background and no psychological value. It is just for mystery and mystery, and it leaves a wonderful shelf for dazzling people, but there is nothing in it. The name of the film "Green Tea" has no story value except to show Wu Fang's hobbies. There is a suit structure that structuralist critics always talk about in the movie, but the most striking prop in that story is not green tea, but a glove. Bird claims that this is a film about mysterious love. I think the mystery lies in the background of Wu Fang and Lang Lang. One righteousness and two handles, this is the hobby of the ancients when they studied the quintessence of Chinese culture. Then, it has become an instinctive habit for the directors of the sixth generation to play metaphysics. In fact, this setting of one person playing two roles has been used in Lou Ye's Suzhou Creek. They have exactly the same appearance, but their personalities are quite different, which always attracts people's curious eyes. In Suzhou River, Lou Ye fictionalizes the authenticity of the film through the blunt explanation of the narrator, who is represented by the narrator, and escapes the responsibility of being unable to justify himself. In Green Tea, Bird is different from Lou Ye, and shows the sharp contrast between Wu Fang and Lang Lang with a serious lens. Two women, one old-fashioned and one romantic; One is subject to men, and the other is subdued by men; An inside defense, an attack. This idea is not bad. It is indeed profound and ingenious to explore different faces in the man's world through women with the same face, but the film can't answer the rationality of this existence in the end. A woman has so much leisure to test men, test men and get back at men? It's okay. You must be full. I believe the director is also facing this kind of embarrassment. Finally, in that party, it just ended in a hurry and went away. When Lang Lang slapped the painter and said Wu Fang's lines, I saw Chen Mingliang and Lang Lang fall in love hand in hand, almost implying that Wu Fang was Lang Lang. If this mystery holds, how does this film answer the motives of Wu Fang and Lang Lang? No, it's nothing. Set up a huge mystery, but don't give any realistic psychological explanation. You can only play a mysterious mystery on the appearance of the characters, and you can't find any basis. That's why this movie is so fragile. It can be said that the core of the whole movie is empty, beautiful and exquisite, and it is a pile of hollow straw. There is also a story about the interweaving of gloves in the film, but this cruel story is still a story until the end, which is a word game in the narrator's mouth. The director can only be ambiguous here, create mystery and let the audience participate in meditation freely. In fact, the director himself has no idea. In the last shot, the director puts his hands on the glass table, which shows the director's escape and ambiguity here. He didn't dare to judge the motives of Wu Fang and Lang Lang's split personality. He didn't even know whether the woman who was in close contact with Chen Mingliang in front of the camera appeared on Wu Fang's face or Lang Lang's face. Even the director is not sure. Is Wu Fang a real woman, or is Lang A Lang a real woman? Does Chen Mingliang really need Wu Fang or Lang Lang, or does he need the bodies of these two women? If that woman is Lang Lang's appearance without Wu Fang's heart, will Chen Mingliang join hands with her? When the film emphasizes a philosophy, it weakens the hypocrisy in front of him, and suddenly becomes a rout here, hiding all contradictions in a soft and happy reunion, just like a surgeon thinks that cutting off the handle of an arrow will cure the arrow wound. The final ending of the whole film is like cutting off the exposed part of the arrow, which makes the wound seem to solve the gap calmly, but leaves all the contradictions in the body, which makes people extremely unhappy after watching the whole film. (People's Network Evaluation)