Instant beauty, long-lasting fragrance. In this era of entertainment, which is chased by the hustle and bustle, a reunion of old drama bones makes us involuntarily stop and look back and feel a lot of feelings. Those familiar faces, those familiar names, are like shining keys, reopening the door to long-cherished memories for us.
Tang Guoqiang, Liu Xiaoqing, Chen Chong, Huang Jianzhong... They were dressed in neat dresses and walked on the red carpet, which was particularly dazzling. The years have already etched the traces of time on their faces, but their demeanor is still calm and elegant, with vigorous steps and extraordinary temperament.
The most striking thing is the cordial warmth revealed by Tang Guoqiang's gestures. This veteran filmmaker, who used to be in charge of a professional farmer image household, is now over the age of old, but in the face of the spotlight, he looks stable and a little childlike innocence. He held his wife Zhuangli with his left hand, and his old friend Liu Xiaoqing with his right hand, trotting all the way, cheering, completely losing his previous serious style.
Tang Guoqiang's wife is magnificent and unpretentious, wearing a comfortable black cardigan, which matches her husband's outfit very well. She is sometimes casual and elegant, which is a good embodiment of the traditional virtues of oriental women. Zhuangli is 12 years younger than Tang Guoqiang, and the two have been together for more than 30 years. Looking at their loving and white-headed appearances, I can't help but sincerely bless them.
Liu Xiaoqing is a veteran movie star that Chinese audiences are all familiar with. Her reputation as the queen of the motherland bridge not only comes from her outstanding performance in "Little Flower", but also because of the various classic characters she has created in countless other film and television dramas. Once upon a time, the images of ordinary people such as village aunts and maids played by her were well-known, making hundreds of millions of people feel the hard life of the people at the bottom as if they were on the spot.
Today's Liu Xiaoqing, dressed in a black long dress, is noble and elegant, showing her precipitation in drama skills. Standing side by side with Chen Chong, the two old drama bones looked at each other and smiled, instantly making people return to the glorious moment of "Little Flower" more than 40 years ago. The intense emotion of traveling through time and space will never be described in words.
Chen Chong's first impression is that he is inherently fashionable. She has a dazzling short hair, and she has a capable and avant-garde style. As an actor, she has always been a representative of the bolder dressing style in the film and television industry; As a director, she has also been praised for her bold and innovative approach. The purple dress worn by Chen Chong outlined her graceful body curves, and showed her graceful and luxurious temperament to the fullest.
As a pioneer of Sino-US co-productions, Chen Chong has started a unique career as a director as early as the 90s of the 20th century. Her works not only show outstanding artistic talent in the East, but also promote Chinese films to the world's vision, and make indelible contributions to Chinese culture going global.
The figures of the three old drama bones are like time shuttles, dragging us back to the glorious era when "Little Flower" was born in the 60s of the last century. For a while, the cheers, applause, and cheers of the audience rumbled in their minds. That well-known red classic has given countless people a new understanding of "simplicity" and "authenticity", allowing us to be "spiritually rich" in that era of material poverty.
It is the dedication and persistence of those older generation filmmakers that have allowed Chinese films to go through a glorious history, and also supported the latecomers to thrive on this fertile soil. Their achievements not only deserve to be remembered forever, but they should also serve as an example for those who come after us.
Of course, the film industry in the new era is also facing unprecedented challenges. Various forms of entertainment emerge one after another, and large swaths of the world are overflowing, forming a diversion and plundering of the attention of ordinary audiences. Under this "shock wave", if Chinese films want to survive, they must continue to innovate, make breakthroughs, and improve their artistic standards.
Only in this way can we stand tall in the torrent, and only then can the hard work and legacy of the older generation not be wasted. More importantly, only in this way can we be like today's Tang Guoqiang, Liu Xiaoqing, Chen Chong and others in a few decades, with great pride, full of ambition to walk on our own stage and tell the world about their glorious life.