Speaking from the chest, Wu Xiubo seems to be able to "hold up" half of the sky of the movie "No Two Love Letters" better than Tang Wei.
At least the moment Wu Xiubo emerged from the pool, the two pectoral muscles that were dangling in the ming "pressured" tang goddess's rather vulgar casino PR style, causing many female audiences to praise it slightly or loudly .
In fact, when we look at the performance of the actors alone, the place where Uncle Bo presses the goddess of soup is not limited to the chest. Even if I have the same appreciation for the goddess Tang as always, I have to say that her acting skills have no highlights in this movie with the name of "Beijing Meets Seattle". And this situation seems to have shown an inexplicable continuity in these two years: whether it is "Destiny" or "Three Cities", or even "Golden Age" and "Hacker Confrontation", Tang Goddess seems mediocre or even out of standard in terms of performance.
Although beauty is still so beautiful, the temperament is still so temperamental, and the character and cultivation still occupy the forefront position among the many actresses in the mainland. But as an actor, being unchanged is not a long-term solution - if you blindly rely on appearance, what is the difference between that and the vase?
Although Wu Xiubo can only be regarded as a normal play in this movie, the charm exuded by his personality is obviously much stronger than before. You can certainly attribute this charm to the temperament that comes with his increasing maturity, but you should not lose sight of the sophistication he shows in grasping some details. This sophistication allows him to be at ease in the role of "Big Bull", who is sophisticated, sleek and witty, neither exaggerated nor contrived, but in the process of shaping the role, he exudes a taste of yapi.
It can be said that if it were not for Wu Xiubo to support this film, the film would probably hover outside the passing line.
Yes, "Beijing Meets Seattle's Love Letter" is a barely passing movie. Although such ratings are different, and different audiences have different ratings, as far as the film itself is concerned, it is indeed difficult to obtain high scores.
In terms of narrative techniques, we can kindly regard this mode of "correspondence" and "virtual and real communication" as an innovation, but if the meaning of this innovation is not to make the story more clear and concise, but to become somewhat inexplicable or even mysterious, then such an innovation will fail. Of course, literary narratives are beautiful and poetic, but if they are not well grasped, they are likely to be just a literary and artistic sense of self- goodness. Especially when the creators are too immersed in this "feeling good" of their own, the whole rhythm of the film becomes protracted, and the story becomes lengthy—and the last hour of the film successfully fits this trait.
In terms of emotional performance, the love between men and women that should have been outlined originally seems to give way to hometown feelings, and most of the audience is moved to the point that almost has nothing to do with the love of the male and female protagonists, but is related to the marriage feelings and hometown feelings of grandfathers and grandmothers. When the grandfather said to the grandmother with a little arrogance that he was "born to die" emotional confession, when the grandmother put her hand in the heart socket and said the root word of "this peace of mind is my hometown", we will be touched by the emotions flowing in it.
In my opinion, the performance of Qin Pei and Wu Yanshu, two old drama bones, has become an impressive highlight of this film.
The bitterness of the female protagonist Jiao Jiao in life and growth has not been well reflected, and the loneliness of the male protagonist "Big Bull" growing up alone in the United States has not been well rendered, perhaps holding dumplings to sound the verse narration of "thinking of relatives every festive season" will make people feel a kind of sadness, but other aspects of emotional performance, either not, or passed by. Also, what about good love? The director has been trying to outline the male and female love between the two protagonists Tang Wei and Wu Xiubo in a literary and elegant way, but between the elegant pulls that come and go, we do not feel a moving love, only see a long ambiguity.
There are also hard wounds in the story. As a commercial film, the film's commercial intentions are really obvious, whether it is the title of the film strongly labeled "Beijing meets Seattle", or the blunt advertising implants presented in many places in the film, coupled with the box office appeal of the cast, this film is indeed not different in business at all. This is understandable, after all, its genre is aimed at business, but commercial films do not mean that they can not tell a good story. As mentioned above, the narrative of the film is somewhat new, but the story is too far-fetched and literary, which greatly reduces the perception.
Where is the far-fetched? If the friends of the same industry softly questioned that "the male and female protagonists actually use letters to communicate in such a well-connected society" is a kind of harsh rebuke of "picking bones in the egg", then Jiao Jiao, played by Tang Wei, as a casino girl who was "forced to a desperate situation" in life, was "sudden self" and "sudden big win" after following Mr. Deng to Las Vegas, it was inevitable that it was a little unconvincing. In terms of the "encounter" of the male and female protagonists, every viewer knows that they will inevitably meet, but they either did not expect that it would be a kind of "soul encounter" that was almost "crossed", or they were patient and procrastinating to pretend to be romantic ending encounters.
Even if the "encounter" is not well said, what about the key "love letter"? Except for the "verse quotation contest" that you come and go with me, and the teasing and ambiguity that make each other very familiar, it is difficult for us to feel the pure emotion of "love letters". If we want to forcibly dig out one or two highlights from such "love letters", we may focus on these two aspects: on the one hand, the "letters" themselves evoke many viewers' nostalgia for the "once upon a time slow" and the memory of the "pen pal" era; on the other hand, most of the verses that run through the whole movie make us feel the beauty of poetry.
Admittedly, the film is decent in terms of technique, not made very ugly, nor too exaggerated. Compared with many domestic movies, "No Two Love Letters" can be regarded as an assembly line qualified product, but its key core has not been well represented. The friendship between letters can be very beautiful and touching, not necessarily how literary and romantic, too immersed in this kind of literary and artistic romance, will make such emotions cheap, and even be labeled with questions: After such a long period of ambiguity, can two people who finally meet can give birth to a reliable love?
Wu Xiubo and Tang Wei walked gracefully on the banks of the River Thames, showing each other their best side, and the spicy, tentative, provocative, comforting, preaching, etc. shown in the past in their letters became a calm smile after meeting. Is love based on this reliable?
People who hold different views of love will have different answers.
ps: The text is the author's original, the picture originates from the network, and all reprints without greeting are refused. First published in the public account [Muyidd's Island] (muyidd2015), welcome to pay attention to and exchange.