Film Review of Red Rose and White Rose

The texture and multiple voices revealed in "Red Rose and White Rose" boldly challenged and subverted Zhang Ailing's writing, rewrote the film language mode of mainstream films in Hong Kong in a feminine way, and established her own language, a language of female voices. Exquisite photography, every shot is so exquisite, opening a picture of old Shanghai for the audience. A romantic and boundless, turbulent and flashy, noisy Shanghai is so close. Although there is no location, the atmosphere of old Shanghai was very successful in the 1930s and 1940s. The beauty of music also adds a lot to the film. In particular, the erratic "rose is sweet", after being interpreted by Sandy Lam's nostalgic voice in some of Yi Shu's novels, sounds like drinking the "drunken dream" in "Time has passed" and is intoxicated and unwilling to wake up. (Netease Review)

Guan coldly described a feeling of helplessness. In the elevator going up and down, the delicate and beautiful face of the red rose reflects her inner twists and turns, and the white rose lives a pale and colorless life in the clean and bright bathroom. Exquisite and beautiful, decadent, but inadvertently reveals a trace of pure tenderness in the bottom of my heart. It is amazing that a man can portray a woman's feelings so delicately and richly. (Sina Comment) The film Red Rose and White Rose is too rigid in the original work, and it also intercepts fragments. For the audience who haven't seen the original, many scenes are unintelligible, and it is impossible to establish a causal relationship, thus achieving the effect of narrative and emotional expression. Too much emotional music is floating. The literary narration that relies too much on character narration and subtitles also weakens the expressive force and appeal of the film audio-visual language itself. Compared with the original work, the finishing touch to straighten out the transformation of characters' psychological motivation and emotional catharsis should be the scene where Zhenbao meets the Jiao Rui tram after the structural transformation. (Zhongxin. Com review)

This film is too limited to the original work to be innovative in image re-creation. Tong Zhenbao and the red and white roses with opposite personalities are not touching enough. Too many literary subtitles also appear artificial, which is quite difficult to reproduce the flavor of the Shanghai era in the 1930s, but the technical level of the whole film is brilliant. Chen Chong's performance of red roses is full of enthusiasm and temptation, while Ye Yuqing's image of white roses is fresh but a bit dull. Zhao Wenxuan's role has not been brought into full play. (Sina Review)