A lover vanishes in love with a look-alike, a continuation of Buffalo Grass Vodka. I like to call it "The Curse of the Oyster."
At the beginning of the movie I was deeply attracted by Lou Ye's so real with the emotional color of the lens, as he said in the movie, "My lens only captures the real". The real record of Suzhou Creek in the beginning reminds us of the influence of Italian neo-realism, which reflects the whole picture of Chinese society by not setting up scenes, and the life of the grassroots unfolds along Suzhou Creek and ends up reflecting Shanghai. ....
Meimei pretending to be Mudan Did Ma Da know or not? I think the answer is yes. When he realizes that she is not really Mudan, he blows up the whole bar. Because Meimei gave him redemption, but ruined it in the end.
Why is Meimei pretending to be Mudan again? What did she fall in love with Mudan without ever knowing him? I think there is a more real intense oppressive lust coming out of Mada than Meimei's boyfriend.
Why did Meimei leave her boyfriend? I think Meimei never got the love she wanted, but she got it in Mudan, which can be seen from the fact that she even pretended to be Mudan for the sake of it, but Mudan will eventually find out and die, while Meimei can't stop pursuing her love, and in the blink of an eye, she transforms into a real peony and leaves her boyfriend in a vain attempt to make him the next Mudan, has she succeeded? I think the monologue at the end tells us the answer!
Lou Ye's Suzhou River seems to have more homage to VERTIGO, such as observing Meimei through the curtains and nearly the same storyline, but this film has more tension than Hitchcock's lens of emotional and political value, with real such as neorealism to show the lust of different people, but also to show the life of the lower strata of society, and the last two people gazed at Shanghai and died together as the last glimmer of eulogy for the life of the lower strata of the people. In the end, both of them die together gazing at Shanghai as if they were the last touch of eulogy for the life of the lower class, and reach eternity through death on the road to love.
(Mudan jumped into the sea that one shot really sealed God, directly stand up and applaud)
At the beginning of the movie I was deeply attracted by Lou Ye's so real with the emotional color of the lens, as he said in the movie, "My lens only captures the real". The real record of Suzhou Creek in the beginning reminds us of the influence of Italian neo-realism, which reflects the whole picture of Chinese society by not setting up scenes, and the life of the grassroots unfolds along Suzhou Creek and ends up reflecting Shanghai. ....
Meimei pretending to be Mudan Did Ma Da know or not? I think the answer is yes. When he realizes that she is not really Mudan, he blows up the whole bar. Because Meimei gave him redemption, but ruined it in the end.
Why is Meimei pretending to be Mudan again? What did she fall in love with Mudan without ever knowing him? I think there is a more real intense oppressive lust coming out of Mada than Meimei's boyfriend.
Why did Meimei leave her boyfriend? I think Meimei never got the love she wanted, but she got it in Mudan, which can be seen from the fact that she even pretended to be Mudan for the sake of it, but Mudan will eventually find out and die, while Meimei can't stop pursuing her love, and in the blink of an eye, she transforms into a real peony and leaves her boyfriend in a vain attempt to make him the next Mudan, has she succeeded? I think the monologue at the end tells us the answer!
Lou Ye's Suzhou River seems to have more homage to VERTIGO, such as observing Meimei through the curtains and nearly the same storyline, but this film has more tension than Hitchcock's lens of emotional and political value, with real such as neorealism to show the lust of different people, but also to show the life of the lower strata of society, and the last two people gazed at Shanghai and died together as the last glimmer of eulogy for the life of the lower strata of the people. In the end, both of them die together gazing at Shanghai as if they were the last touch of eulogy for the life of the lower class, and reach eternity through death on the road to love.
(Mudan jumped into the sea that one shot really sealed God, directly stand up and applaud)