Chapter 12 loan lamp

There is a Shaoxing opera called Borrowing the Red Lantern.Because I don't understand the libretto, I haven't figured out the content, but I love this title with natural charm, so I quote it here without authorization.Borrowing silver lamps is nothing more than borrowing mercury lamps to illuminate the customs and customs around us.Of course, there are many unreasonable things about things under the mercury lamp, but there are also some thought-provoking ones. The two films I'm going to talk about, Tao Li Zhengchun and Mei Niang Qu, may be out of date, and the theaters of the third round have already shown them, but the entertainment venues in the mainland and local cities still perform them again and again. Most of them are a group of audiences we are not very familiar with, and the films they enjoy are also worthy of discussion.

My article is not a film review, because I am not watching the Chinese people in the film. These two films also deal with the issue of women's morality.The scope of women's morality is very wide, but when ordinary people talk about the way of being a wife, they often only focus on the following point: how to happily abide by monogamy in front of a polygamous husband.In Mei Niang's song, the husband looks for flowers and asks willows, and goes to the stage to play with other people's family.The average clients of Taiji seem to have some kind of nightmare, dreaming that their own wives or daughters appear there, answering the call slowly, and bumping into them head-on.This earth-shattering meeting was of course full of drama.Our novelists have grasped this point of drama, so this kind of situation can often be found in social novels in the past thirty years, but this is the first time we have seen it on the screen.Mei Niang was lured to the platform, and happened to meet her husband.He hit her on the mouth.She had no room for a word, and was dismissed.

If the husband has deviant behavior outside, does his wife have the right to follow his example?While modern women openly object to one-sided chastity, even old-fashioned Chinese wives are not entirely unfamiliar with the subject.When they got jealous over a trivial matter, they threatened their husbands that they would take this kind of revenge.But the speaker is earnest, the listener is contemptuous, always treat it as a joke. The men may admit, when they tell a joke, that there is a primitive fairness in the advice of the wives.It is difficult to get the Chinese to hold this discussion with a straight face, because they think there is nothing more ridiculous in the world than adultery.But if we can force them to take a more serious attitude of judgment, they will definitely not approve.From the point of view of purely logical ethics, the combination of two blacks does not equal one white, and the addition of two evils cannot make one good.The Chinese arrive at the same conclusion without the aid of logic.They feel that this approach is not feasible in practice.If the female wife is serious about doing that, she herself is too unworthy.In theory, there may be this right, but some rights are better prepared and not used.

Having said that, this type of question is the best material for a chat between male and female guests after tea and wine.In Mei Niang's song, a family member in the Yankuo defends herself eloquently in the style of a speech at a dinner table.And yet our naive heroine is dreaming of nothing entitlement, entitlement to words.A villain tricked her into that dishonorable place. She thought he was going to start a charitable primary school and asked her to be the headmaster, and her husband followed suit. That fatal misunderstanding occurred.She never had a chance to consider whether she had the right to commit a crime before she slipped down and couldn't get up before she got close to the abyss of the problem.

The husband in Taoli Zhengchunli was so drunk that he succumbed to the temptation just now, which seems to be excusable.But this special situation is only understood by the audience.His wife still didn't know, and didn't want to inquire, as if she didn't have any curiosity.She wants only whatever part of him he falls within her reach.Other than that she wasn't interested at all.If he dies unfortunately, she wants a bit of his flesh and blood, even if the child was born for him by another woman. Peach and Li Zhengchun is adapted from the American film Lie, but its subject matter sticks to the hearts of the Chinese people.The good wife here takes care of the child in the womb of her husband's lover with great pains, and after many difficulties, prevents the pregnant woman from aborting.Such a woman has an oriental spirit in basic principles, because our deep-rooted traditional concept is that the ancestral hall is the most important.

In today's China, the exchange of old and new ideas, and the influence of Western individualism are quite dominant, so in modern society, such a typical woman, if it exists, needs some explanation.Even in the ancient times with strict etiquette, there is something to study about the intricate psychology of this kind of behavior of sacrificing oneself.It's a pity that Taoli Zhengchun is a little superficial, completely ignoring the inner process of the wife and mistress, as if everything is taken for granted. Director Li Pingqian's style is always so bright and gratifying.What particularly satisfies the male audience is the scene where the wife and the niece kiss each other peacefully and embrace each other and fall asleep.

There is such a beautiful story that it is not difficult for Tao Li Zhengchun to analyze many major problems in life insinuatingly, but it misses this opportunity lightly.The same is true for Mei Niangqu, who is very hopeful but doesn't realize it. She only cares about driving a light car, knowing the way, and driving into the tragedy of the abandoned woman that we never tire of.Mei Niang hurriedly, like a famous celebrity going to a banquet, arrived everywhere until she stumbled in the heavy rain, kissed her child through the glass window, died in the thatched cottage, and finally died in the arms of her repentant husband. The man sang the love song on the lake in his memory.All the tried and tested tear gas in the legal legendary drama is here, but it is affected by the lighting, and the performance suffers a lot.

Mostly because of the terrible lighting, the atmosphere of the joyous scene shown in the play is extremely gloomy and cold.Ma Ji played the role of the hostess of the platform, and that rigid short fake smile seemed too monotonous.Yan Jun plays a villain, and he is very familiar with it.Wang Xichun failed to completely break free from the constraints of Beijing opera, and Cang Yinqiu played the snobbish primary school principal, which was ironic to the bone.She stole a lot of scenes to see that almost all the visible parts were monopolized by her. Chen Yunshang played the heroic wife in Taoli Zhengchun, which was too childish.Bai Guang is limited by the dialogue, seems to be a rare and humble slut who only clings to the wine glass: you drink!You drink!Without a second sentence, relying on a pair of beautiful eyes to make up for this shortcoming, even this ophthalmologist seemed a little struggling.