Friends just finished watching the trailer of "Lonely Taste" and immediately skimmed their lips: "What is so good about this bitter mother-in-law drama?" I smiled and replied, "When my mother-in-law looks good, it is excellent actresses of different ages who play on the same stage, then it is really beautiful!" 」 We invariably think of the black-and-white light comedy "Four Thousand Gold" that once rose to the international level, think of Ang Lee's "Eating Men and Women", and the stage original "Mother-in-Law" and the film version of the real Hollywood film "Steel Magnolias".
"Lonely Taste" showed its chic temperament, and after watching it, I told my friends, "It's not the same as the movie you imagined with the theme of 'Tainan women'." Especially when the large palace temple in southern Taiwan, under the team mirror led by director Xu Chengjie, presented a crystal brilliance like a jewel box, Chen Shufang and Ding Ning shuttled through it, with their hands together and their hearts worshipped, with tears in the corners of their eyes and a smile on their lips. "Don't thunder," my friend interrupted me. "I'll go see," he said, "it seems to look good."
< h1 class= "pgc-h-arrow-right" > the story of a Taiwanese woman is an excellent theatrical subject </h1>
Taiwanese women are indeed rare excellent drama themes, director Zhang Yi filmed "I have lived my life like this", director Wang Tong filmed "The Wordless Hill", taiwanese women's stoicism and introverted love, are the focus of thousands of halos. This time, the cutting-edge director has written the theme of his personal experience into a chapter, and in many of this year's issue-oriented "revealed" films, he has cut through with "unveiling the secrets of the family", but he has brightly embarked on a path of compassion of his own.
"Lonely Taste" uses the form of family drama to make the daily life of the frying and frying, the manual teaching of origami lotus flowers in the spiritual hall, and the mother-daughter dialogue and sisterly whispers that are distributed to relatives, overflowing with clever vitality. Chen Shufang, Xie Yingxuan, Xu Ruoxuan, Sun Kefang and several other actresses not only have great room to play, a three-generation family of women eating McDonald's in front of the spirit, while discussing who loves whom, but also indifferently presenting the color of life in humor.
It is these colors that make Ding Ning describe the feeling of "boiled frog in warm water" at the premiere, gentle and warm, unconsciously, emotionally mature. The film story captures the absurdity and authenticity of real life that is both outrageous and natural - on the 70th birthday of Xiuying, an old lady who is known as "Miss Lin" in the restaurant industry in Tainan, Fucheng, the news came that her husband, who had been separated for decades, passed away. She beat the spirit to finish the happy event and then do the white thing, for such a long time with the husband of the red pink confidant - the "Aunt Cai" who has a relationship but no name, she both rejects and cares, between one in and one retreat, how much of the past taste.
The interaction between Miss Lin and her three daughters - the eldest daughter of the dancer with the personality of an artist, the second daughter who follows the family's expectations to become a doctor, and the third daughter who gave up her studies to inherit the family business are the scenes of the whole film. The third daughter kept her mother's famous restaurant from a roadside stall selling shrimp rolls. The daughter of the second daughter, who is in high school, leads the audience into this seemingly ordinary but climactic teapot storm, played by Chen Yanfei of "Silent".
In addition to the female role, the role is not heavy, but the most eye-catching effect is several husbands. Zhang Han plays the second son-in-law Tainan famous doctor, Chen Jiakui plays the eldest son-in-law who glimpses a glimpse, the most outstanding is the husband of "Miss Lin" interpreted by Yang Yizhan and Long Shaohua; Yang plays the young adult, the dragon plays the elderly, the former debuts, the sunglasses are not taken off, and the wind and drifting coffee are born. In the scene where the latter is sick in the hospital, the director uses a close-up shot of the side, which slightly feels like the pathology of the exploitative character, which is difficult to force and undesirable. However, in the later part of the film, he sang side by side with Chen Shufang, continuing the character's demeanor, singing three stacks, white head and old age, free and dashing, touching people.
<h1 class = "pgc-h-arrow-right" > the softness and lightness of a woman's story </h1>
The genre setting and writing strokes of the realistic family drama in the whole film make the writer's writing skills more important. Any "golden sentence line" that is tainted with the "taste of Wenqing" once it shows its buds, it may make the play and performance full of raw edges and appear chaotic. Some "abridged lines" and "dash lines" can easily become traps and dead ends for performers.
For example, in the first scene in which Xie Yingxuan entered the film after the Golden Horse Film, the choreographer she played was directing male dancers. The half-wiped eyes, smiles, and hand touches she gives between her hands and feet immediately creates a living sense of character presence— a very physical, enthusiastic "artist" posture. However, the line she said was: "When you do this, you have to be like... Catch your beloved."
Sitting in the theater, I let out an almost disturbing sigh for the pause of that abridgement number.
An artist who is "creating" does not communicate with an abridgement number. In particular, the dance teacher is still giving instructions, adjusting her artistic creations, she is not searching for dry intestines, looking for suitable words to describe or metaphor, she has a picture of the dance in her mind, a feeling of emotional communication, to let the male dancer show it through physical movement, it is a strong desire to complete the goal she has set to pursue.
At this moment, she will most likely give instructions like this: "You have to catch it at this time, hold on, you love her!" Yes, yes." This is closer to the realistic language that conforms to the logic of the "artist's" thinking, rather than abridged signs and dots. Here, if there are eager affirmations, short sentences, command sentences, and the extra smile in her eyes, as well as some extra touches in her hands, the two phases shine together, and the characters are naturally alive.
Similar abridgement lines and dash lines are easy to appear jumpy and harsh in the whole movie, perhaps because when the film is smooth, it is almost smooth as a common thing. The worship scene mentioned above really filmed the drama and depth that the so-called "mother-in-law drama" in the friends should have, and the softness and lightness of the woman's story.
Watching Chen Shufang and Ding Ning worship each hall and one hall, the bright peace lamp on the wall of the hall melted into a whole piece of red and brilliant crystal clear, setting off the grievances and piety of the hostess. Once, the stoic, delicate female image was a model for the entire era; after that, there was youth, beauty, naughtiness, purity, steadfastness, freedom, romance... The different female characters reflected in the film release different levels of magnificence of different colors, which are as beautiful as Zhang Meiyao, the most beautiful in the Taiwanese film industry.
<h1 class="pgc-h-arrow-right" > the other side of "loneliness", which is the fulfillment of "home" </h1>
On the other side of "Lonely", "Lonely Taste" reflects the completeness of "home". Xu Ruoxuan plays the second daughter is Taipei's medical beauty trump card, and the husband who is a famous doctor in Tainan is almost separated from two places, this "home" that looks like it is about to collapse at any time and will have problems at any time, when the external defense and hard face are unveiled, it is originally full of compromise for perfection, as well as understanding and consideration for compromise.
What impressed me the most was that the three families in the family flipped through the photo album. At the beginning, Xu Ruoxuan talked about her "father's absence" childhood, talking about receiving awards and spelling out grades, in order to hope to reunite with her father more girl's wish, she closed the photo album, and the husband sighed next to him: "Your daughter does not have a photo album." She turned sharply: "But there is a 1TB hard disk." "Past life lover!" Sir answered.
Immediately afterward, Xu Ruoxuan summoned her daughter Chen Yanfei: "Come and see what your father looked like in college", she pointed to a photo in the thick photo album and added that it was the only "one hundred and one" in her hand. The husband made a gesture to cover the photo, and the daughter looked at it carefully: "So skinny!" This scene should be the best written line in the movies I have seen so far this year.
I did not cry in Chen Shufang and Ding Ning's worship scene, nor did I cry for the shot of Mr. Chen Shufang and Ding Ning's first seven painstakingly fried shrimp rolls; but these few sentences were so faint that they did not look like the lines written, in which the use of words and performances were obviously very measured. Not "handsome", "thin". Compared with the "thin" of that year and the "not thin" of now, what has increased is the flow of time. Therefore, everything condensed into that "thin" word, not only as beautiful as Zhang Meiyao at that time, but also sincerely beautiful and beautiful.