Fortune Telling Collection - Comprehensive fortune-telling - Brief introduction and detailed information of spring peach
Brief introduction and detailed information of spring peach
A few years later, Chuntao passed by a small market next to Shichahai one day and heard someone calling her nickname. She was surprised to see a legless, unkempt man sitting on the ground, watching her beg. It turns out that this is Li Mao, who once worshipped her as her husband. She couldn't bear to starve Mao to death in the street and take him home. There are two men and a woman living in a shabby house. In order not to let themselves or any of them live on the streets, all three people are trying to restrain themselves and accept this unacceptable reality. But no matter how stubbornly Chuntao insists that "the three of us will live like this", both of them hope Chuntao has a normal home.
Liu finally ran away, and Chuntao realized that she loved him and ran out desperately to find him. When she came home disappointed, she found Li Mao hanged herself. She saved him and they became brother and sister. Soon, driven by love and conscience, Liu returned to Chuntao, and Li Mao was happy with their reunion.
Cast role actor Chun Tao Xiang Gao Jiang Wen patrolman fool Yao Xinli Xiuzi Laowu Tou Niu Rongliang Wu Aunt Sun Yanwen Grandma Yao Jianguo Heizi Hanshanji Black Man wang baomin Bad Man Yao Lukexin Producer Chen Guangzhong, Jizhong Producer Du Taiying, Li Dongde Producer Long Forest, Yu Zhaoqian Original Xu Dishan Directed Ling Zifeng, Deputy Director (Assistant) Wu Guoguang, Andy Screenwriter Han Lanfang, Photographer Liang Ziyong, Ji (Deputy), Chen Gang (Assistant) and Chen Hengdi (Assistant). Yu, (makeup assistant) costume designers Tong Xiuqin,,, Lighting Wang,, Tong (assistant) and Tong Xiaoguang (assistant) recorded Wang Yunhua, audience seated, Meng Fanhua, Cao Hongcai, Wang Fulin, Chen Tao, Liu Jiamin, Han Xiaojie and Zhang Fan.
Chuntao is a hard-working and stubborn woman. On their wedding night, she and her husband were separated by bandits. She fled from the countryside to Beijing to collect garbage for a living and lived with Liu. Li Mao, who had a letter of appointment with her, met in the street, and he became a legless man. Chuntao decided to live with two men, but the worldly vision could not make her get what she wanted. Jiang Wen plays Liu.
Chuntao met a man in Beijing and lived together. Although he and Chuntao lead a hard life, they are very happy. His greatest wish was to marry her formally, but he was always rejected. The man who married Chuntao came among them, and three people slept on a kang. In the face of legless Li Mao, Xiang Gao can't refuse, but he can't stand the secular vision. He chose to escape, but he finally came back because he missed Chuntao.
Behind-the-scenes tidbits: This film is the second collaboration between Liu Xiaoqing and Jiang Wen after furong town. Like Li Mao in the film, Cao is a disabled person with amputation. /kloc-at the age of 0/2, the lower limbs were crushed by the train, leaving only half of the body. 1984 won two bronze medals in the Paralympic Games, and 1987 was chosen as the "husband" of Liu Xiaoqing. Liu Xiaoqing soon got into the performance. Once, she filmed a scene of picking up garbage. The weather is very hot. Liu Xiaoqing is carrying a big basket and wearing a straw hat. Her feet and legs are leggings. The sun is shining above, and garbage, worms and maggots crawl out below. She didn't complain. She doesn't need eye drops for fake tears, and she doesn't need sweat spray. After the filming, the crew paid tribute to Liu Xiaoqing. Award-winning Record Time Award Evening Winner Nomination/Award 1989 Hundred Flowers Award Best Feature Film "Spring Peach" Award-winning Best Actress Award-winning Best Actor Jiang Wen Award 1988 Award-winning Production and Release Information of "Spring Peach" Award-winning Ministry of Radio and Television Release Time National Region 1988 China Film Evaluation The film conveys profound meaning with the power of modeling and details, revealing the soul of the characters and forming its own. The director mobilized various modeling methods to depict Chuntao, her unique broken straw hat, unique basket and black and white clothes. Starting with the multi-lens and multi-angle paintings before and after, the changing picture: Chuntao's heavy footsteps and tired shouts under the dark red palace wall not only "narrated" Chuntao's era and environment, occupation and situation, but also made the audience feel the oppression of Chuntao as if deeply moved. This series of profound and beautiful shapes endow Chuntao with more touching charm. (Contemporary Film Review)
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