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devils, he lost his legs in the war. The film "Spring Peach" was born in the 1980s and is in a difficult period of historical change. When the old concept collapsed, the director showed gender equality in the film. If we follow the common understanding, such a relationship between men and women. The triangular structure is ultimately chosen by the woman who she belongs to. Even though women have the right to choose in this love structure, this right is just a multiple choice question. But
Chuntao is different. Everyone in this family needs to go out to make a living. Chuntao has the initiative. In the movie, Chuntao did not express his mind. There are few descriptions of her love activities. The story describes the gratitude, tolerance and redemption of Chuntao.
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reality. But no matter how the spring peach stubbornly insists that "all three of us will live like this", both men hope that
Chuntao has a choice. Liu Xianggao finally left, Chuntao realized that she loved him and ran out to find him. When she returned home with disappointment, she found that Li Mao was hanging. Chuntao saved Li Mao. Since then, Chuntao and Li Mao have become brothers and sisters. Soon, Liu Xianggao was driven by love and conscience and returned to Chuntao. Li Mao is happy with their reunion.
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characters, the two performed excellently. Notably, Liu
Xiaoqing perfectly demonstrated the kind, stubborn, affectionate, and loyal personalities of Chuntao. It is commendable that the role of Chuntao in the film is no longer the kind of past female image as relying on males for everything, but a female with a strong sense of independence and personality.
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Although the director did not describe the psychological activities of
Chuntao, he used the lens language to present the emotions of Chuntao on the screen. There is a bold shot in the movie, which is the base bath. Chuntao shows the youngest female body at the best age in a semi-naked way. It is a
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Theme: For the director Ling Zifeng, the intention is not only to tell such an unreasonable and deformed family story to entertain the public. Instead, he wants to explore the inner cultural proposition of the film. In the 1980s of China, reform and opening up change the social system and poses a
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For women at the bottom of China, such as
Chuntao, the way of love is not essential; it is imperative that they are together. The best way she can think of attachment is to run this small house with Liu Xianggao and Li Mao, set Up a small stall, or move to a bigger house. Chuntao understands that
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On the one hand, the ex-husband who is about to marry– representing the custom, tradition; On the other, the man who she lives with for three years in a romantic relationship – embodying love, modernity. The choice of
Chuntao has transcended the simple choice between the two men, but the choice
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She walks through the streets of
Beijing every day. She is a scavenger. In the movie, Chuntao and Liu Xianggao depend on selling the paper for a living. Li Mao and Chuntao were the couples who were about to get married. The two were separated in exile. Li boy went to be a soldier. The Japanese
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The pain of
Chuntao in her choice was the same as the pain of the Chinese people in the 1980s when they faced the transformation of modern society. While people would like to enjoy the pleasure and excitement brought by the opening of the market, they tried their best to recover the gradually
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once again played the couple. However, with the mutual adapting in last time, this pair of "couples" obviously play more naturally and openly to each other. It can be seen from the almost naked bathing filming of Liu
Xiaoqing shortly after the opening of the film. For the understanding of the
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and heard someone call her nickname. She saw a man without legs. It turns out that this is Li Mao, her fiance. She couldn't bear to see Li Mao staring to take him home on the streets. Three people slept on a bed, and the three tried to restrain themselves and tried to accept this unacceptable
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vast and profound influence on the
Chinese people. With the development of the market economy, while people enjoy the benefits of the economy, traditional values are no longer feasible. Just like Chuntao in the film, people are facing a painful and challenging choice of significances.
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In the city of old Beijing, there was a singing voice from time to time: "In exchange for the lights, change the lights." The owner of the voice, wearing old cloth clothes and wearing a straw hat, her body is pressed against her petite body and can only walk like a camel.
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Especially at the end of the film, when Chuntao walks out of the door, on one side stands the ex-husband and the other Jiang Wen. This kind of contradiction is precisely the contradiction between traditional values and modern values.
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breakthrough description in the movies of the 1980s. In the past Chinese movies, Although films are depicting such a strong and determined female image, they are often shaped like men, and they are "women without gender". But in
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when they got married. They fled the countryside alone to Beijing. In the flight, Chuntao and Liu Xianggao met and lived together. Neighbors want them to get married. One day, Chuntao passed the small town next to
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collapsed traditional values. It was in this contradiction and entanglement that people's thoughts naturally happened to be with fluctuations and struggles.
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between custom and love, tradition, and modernity. This choice is undoubtedly painful, but inescapable for the protagonist as the two cannot coexist.
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these two men have feelings for her, but for her, no matter what choices they made, they have to continue to live.
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is a feature film jointly produced by Nanhai Film Company and Liaoning Film Studio, directed by
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511:"Chun Tao on San Francisco Film Festival"
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499:(in Burmese). 13 December 2010.
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568:1980s Mandarin-language films
491:"解析姜文电影路线图 风格从狂傲到妥协_影音娱乐_新浪网"
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369:Sun Yuzhen – Mrs.Wu
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553:1988 films
547:Categories
448:References
351:– Chun Tao
197:93 minutes
118:Du Taiying
90:Written by
496:Sina Corp
462:"春桃 (豆瓣)"
437:Jiang Wen
389:Category
343:Jiang Wen
311:Jiang Wen
305:in 1986,
265:Shichahai
234:Xu Dishan
164:Qi Xixian
156:Zhang Min
151:Edited by
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120:Li Dongde
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381:Awards
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