The Yue opera film "Liang Zhu" reveals the amorous side of Chinese, which transcends life and death perhaps "such a film is indispensable, it contains thousands of years of Chinese culture". Liang Zhu's story also reminds people of some concepts and ideas around the society in which they live - compared with Liang Shanbo and Zhu Yingtai who are butterflies, perhaps the people around them are left with real tragic stories.

The Yue opera film version of Liang Shanbo and Zhu Yingtai, produced by shanghai film studio in 1953, is the first domestic color opera art film.

As a well-known story in China, this old movie, the family has old parents like to watch - the film's performance, singing, set are very exquisite, is an absolute boutique, and now it still seems to be very charming.

The play is the most influential of all the versions, and it is also a classic play on the stage of Yue Opera, which can be described as unprecedented. It shows this long-standing folk love story to the fullest through the series of dramas such as the grass bridge worship, the three-year-old window, the eighteen-year-old send-off, the building platform meeting, and the butterfly.

The cast list reminds me of Wang Wenjuan and Xu Yulan – as the protagonist actors of classic Yue opera, they are indeed impeccable.

But it is interesting: on the subtitle of the movie name, Liang Shanbo's name is in the first place, and in the arrangement of the cast list, Zhu Yingtai is impressively ranked first. Could it be that she is the only real protagonist?

The film begins with the curtain on the stage, which is a good presentation of the opera in the form of a movie.

In the 1950s and 1960s, the opera films of this period were mainly to preserve and promote the art of Chinese opera, and at the same time to sinicize the modern Western import of film - it can be said that the director Sang Arc fulfilled this mission very well.

The film set is very elaborate, the tones are full and bright, and the environment is transparent and full. An ordinary Zhujia village is beautifully arranged like a fairyland.

The movie is not only beautiful in color, the costume props are also very exquisite, and the characters need not be said - if you talk about appearance alone, Yuan Xuefen is not a middle-aged posture, but her body posture is very Yuanna, really like a weak willow to support the wind of Daiyu.

Yuan Xuefen's voice is a bit hoarse - but it is this flaw that makes her singing have a rustic temperament and stability without too much embellishment.

The scene of studying shows that Zhu Yingtai has been deeply loved by her father since she was a child, and zhu father has given her a lot of freedom and space - so much that she can agree to go to Hangzhou to study, just because she can't bear to see her daughter depressed and sick, which is really pampered.

Zhu Yingtai, who dresses as a woman, is very bookish, and even said that she is heroic and compelling, which is much better than her dress as a woman.

As for Fan Ruijuan, she looks very handsome, her voice is slightly hoarser than Yuan Xuefen's, and she is not a woman at all. The Liang brother she plays, Park Zhi, is occasionally arrogant and delicate, and she is also cute and tight.

The comedic elements of the first half of the film are presented a lot: for example, Zhu Yingtai's daughter's identity was almost exposed several times, and Ya Guiyin's heart mistakenly called her "Miss"...

Including the same window reading, there is also such a scene: Liang Shanbo found Zhu Yingtai's ear marks, which were funny and suspicious. For the audience, it is equivalent to encountering a brief moment of tension, but it is quickly resolved by the wisdom of the protagonist.

The three years of time in the same window are rarely shown, only a few shots, but all of them are exquisitely like they are buckled from the painting.

In this video, the fresh and elegant atmosphere of Chinese classics comes to the face - no wonder that the random screenshots here have the beauty of the monthly brand painting.

Three years of time in the same window flashed by, and the climax of the whole play- the long pavilion was sent, which was revealed.

The contrasting colors of this eighteen-mile greeting are so beautiful—stylized and easy-to-understand beauty.

The color is so great - even if it is pink and emerald green, it looks elegant throughout the film.

Of course, there is also a singing voice - Liang Zhu really can only watch Yue opera, and the look and singing voice from beautiful to mournful are enough to make people intoxicated and heartbroken, which is a good interpretation of what is called and affectionate. Honestly, I've always disliked opera — I can't watch it, I can't stand the slow pace, and now that I'm old, I can finally calm down and listen to it.

This step-by-step change of scenery eighteen miles to send, can be described as sincere and heartfelt, with plates and eyes, subtle and beautiful, touching and profound.

The lyrics are interesting and the performances are delicate. Mainly in Zhu Yingtai to Liang Shanbo repeatedly hinted, repeatedly showing love.

In this singing voice, Yuan Xuefen firmly grasped the personality characteristics of Zhu Yingtai, singing both enthusiastically and actively, but also implicitly internal - a variety of subtle changes in singing methods, expressing Zhu Yingtai's subtle emotions.

Seeing Liang Shanbo's Mu Ne when he poured out his true feelings to Zhu Yingtai, interpreting it from the perspective of contemporary context and audience psychology, he would find it very interesting, and he couldn't help but be funny.

I like eighteen gifts the most! Watching Zhu Yingtai flirt with Brother Liang, it was so much fun. Especially in the "dumb goose" section, Liang Shanbo fake anger, Zhu Yingtai went forward to coax, lively, and agile, it is simply love!

Of course, how happy the front is, how sadistic the back is!

And look at this lyric:

Zhu Yingtai: There is also a well here, I don't know how deep the well water is. You see two shadows at the bottom of the well, a man and a woman smiling.

Liang Shanbo: Foolish brother ming man, why do you compare me to a woman?

In front of the Kannon Hall, the son of Kannon sits on the top.

Yingtai: Guanyin Dashi media come to do, come and come, you and I both come to the chapel.

Shanbo: The more the xiandi said, the more absurd it became, how did the two men worship the church?

Liang Shanbo's straight man is really funny.

When changting away, Zhu Yingtai never picked out the daughter's body, and had to ask the master and mother to tell each other, which was the euphemistic side of the Chinese, and it could also be regarded as Chinese hazy poetry.

Zhu Yingtai was so emotional about Liang Shanbo, I once saw someone comment: at the beginning of the study to fight for the sake of desperation, as soon as he met a suitable man, he forgot all about reading and ambition, and he was bent on marrying someone and seeking a good marriage. Do you want to go to school just to find a man?

I think this is a poor statement, this person did not understand the connotation of Liang Zhu, you must know, Zhu Yingtai insisted on going out to study, that is only the surface, what she really pursues is freedom! Of course, love also belongs to one of them.

The movie begins with the eighteen-mile send-off to the tragedy: "I want to say a thousand words in my heart, I hope that your brother Liang will come early", Zhu Yingtai, was finally promised a marriage contract before Liangshan Bo came.

It's just that at this moment, Liang Shanbo doesn't know anything - he is really a straight man of steel for a thousand years, and he tastes it all the way on the way to mention his relatives, and the look of a flower madness is really like love.

How about Zhu Yingtai here, when he heard the old father announce the marriage match, it was equivalent to a thunderbolt on a sunny day, but he couldn't come up with any courage to resist, only to blindly resign.

For Zhu Yingtai, in the face of her father, she can be willful to go to school dressed as a man, but in the face of her father's reprimand about "child-daughter love", she can only bend to her knees.

Zhu Yingtai, who was deeply influenced by traditional poetry books, did not know that the real controller of her marriage was her old father and not her and her master and mother?

Moreover, is his father at fault? He was exactly right in his time! Even from the role of a father, he is also worried about his daughter everywhere, benevolent and righteous, and always kind to persuade each other. Although in his heart, no matter how much he loves his daughter, it is always a ritual current.

The reunion of the pair is heartbreaking, because Liang Shanbo is happy to come, and Zhu Yingtai must shatter his fantasy - the tragic plot here does not appear to be separated from the comedy presentation in the first half, on the contrary, it is more tragic under this background.

It is said that the most wonderful thing about the Hong Kong version of Liang Zhu is that the eighteen-mile long pavilion is sent to each other, and the mainland version of Liang Zhu is not only that, but also the reunion of Zhu Jiazhuang and mutual complaints is also a climax.

So sure enough, Liang Shanbo soon felt the strangeness of Zhu Yingtai's mood.

Zhu Yingtai, who is brave and fearless on the surface, is helpless to repent at this moment, and the singing section is too livery and intestines, and the hearers are all in tears, and those who see it are all sad.

After Liang Shanbo knew everything, he didn't even have the courage to question Zhu Father in person, so he gave up resistance and persistence.

He was toasted by Zhu Yingtai and said in a depressed voice: I didn't expect me to come to disturb you for a glass of wine.

——Thinking that a lover will eventually become a family member, but getting the result of beating the Mandarin duck and the two separates, Liang Shanbo's liver and intestines are broken, and the sadness is beyond words, there is only one sentence - I can't imagine!

Couldn't he have imagined it? Liang Shanbo is simply poor and white, and the white rich beauty of the rich side of the empty gloves is ah!

Ma Wencai here does not appear, just a name, but it is more like a symbol of feudal forces everywhere, destined to disagree with Liang Zhu's marriage and encircle and suppress Liang Zhu.

When I was young, I always thought that maybe Liang Shanbo would not have such a tragedy if he came earlier, and then he finally understood that as long as a woman's marriage could not be arranged by herself (the core contradiction was the contradiction between parents and children's autonomy), no matter whether Liang Shanbo came early or late, rich or poor, this couple would not have any good results for lovers!

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Liang Zhu's lyrics when he parted were beautiful, neat and tidy, and touching people's hearts.

——The compilation and performance of Yue opera bands in the 1950s and 1960s was an unparalleled peak period, and in the years since, such a beautiful tone full of classical temperament has become a masterpiece.

Shanbo is straight, Yingtai Zhiyong, in fact, it is just a kind of child's heart--they believe in the world too much, believe in all the laws of justice and do not understand the world. What I saw was that they refused to compromise at every turn, in fact, they would be shattered in the face of the wind and waves. In particular, Liang Shanbo, mentally fragile, suddenly exposed to a complex cannibalistic environment, he was helpless and cowardly, so he died quickly - the comedy of life turned into tragedy in an instant, which made people particularly depressed...

Zhu Yingtai went to the grave of Liang Shanbo in plain clothes to cry, which made people sigh - in the shot, except for Zhu Yingtai's white clothes, the rest of the scene is completely black, as if there is only such a heartbroken woman in the vast world and earth.

The combination of thunder and lightning is quite scary.

When the wind and rain were blowing, Liang Shanbo's grave suddenly split in half, a white smoke came out, and Zhu Yingtai jumped down - there is too much horror atmosphere here. The effect of the tomb cracking, perhaps the best technical treatment of that era, is just too frightening.

Heaven split the tomb and closed it again and again, and this is called the perfection of heaven and earth! No matter how calm people are, they will still have a handful of tears when they see the end...

Zhu Yingtai ended herself because of Liang Shanbo, which was her active choice - love is stronger than Jin, until death.

The next section of the butterfly is really beautiful. The flowers are red and willow green, and the ten thousand purples are red, and this piece is also too suitable for making color.

Among the colorful flowers, Yuan Xuefen and Fan Xijuan, two actors, danced with long sleeves, like butterflies flying - I don't know whether it is Zhuang Sheng Meng Butterfly or Butterfly Meng Zhuang Sheng. It can be described as a bright point, the unity of things and me, which is completely the realm and beauty of Lao Zhuang.

Many people like the scene of "casting grave butterflies". I am also thankful for the ending of the butterfly, so that I will no longer be embarrassed!

Of course, now everyone understands that Liang Zhuhua butterfly is only the self-consolation of the ancient working people.

In an age of happiness and happiness, one probably does not expect to have an afterlife. When there is no way out and no hope in this life, the afterlife naturally becomes the guiding light.

However, this ending still allows Liang Zhu to reveal the Chinese amorous side, this amorous is beyond life and death - I strongly support the death of Liang Shanbo and Zhu Yingtai, even if they do not transform into butterflies, they should die, and in more serious cases, their death defends love and innocence, and it is also considered to be a death.

The above scene is very familiar to me - when I was a child, many homes had pasted the New Year paintings taken by this movie lens.

It is said that the master Chaplin commented on this film: "Never seen such an extraordinary film".