In an apartment that has been dusty for 30 years, a beautiful Hong Kong real estate agent (Zhang Xiaohui), an elegant Japanese lady (Keiko Matsuzaka) and a mysterious Korean girl (harisu) have a lingering love story around the melancholy photographer Sho and the spoony policeman (Wu Jialong). ...
Hua Fu Su Yan
Peaches have a heavily made-up face. The picture is extremely luxurious and colorful, and all things and images are painted with large pieces of incompatible colors, as if suffering from some enchanting chronic disease. Yang Fan is not only a director, but also a painter who paints without hesitation. In a sense, the lens was used as a canvas by him. From the scene of Harisu waiting for his lover alone in the room, we can get a glimpse. Scarlet rouge clings to a woman's cheek, and the brown-blue bedspread is pulled over at will to cover her chest. The stripes are deep and circuitous, echoing the black patches on the tiger chair. The tiger is the king of beasts. It was designed as a seat, and the tiger's head with its jaws open turned into an armrest. This is of course a danger signal related to sex, and women's sense of control and initiative is impressive. The big red sheets are vaguely covered with invitations and commotions, indicating that the next moment is coming. The slender lanterns with stems and leaves give off a vague halo. Under the refraction of the dressing mirror, people feel that the room is more cramped and crowded, as if the lover's chest is dull and suffocating when it is close to his body. The table is neatly arranged in bits and pieces, which is exquisite and expensive. The woman's long black hair hangs over her naked back and looks safe. This undoubtedly succeeded in building a space for the flow of lust, all kinds of definite surging passion and all kinds of uncertain desire gestures. In the room where the woman turned later, furniture, curtains, walls and other key symbols were all included in the deep warm color system, especially red, which made people overwhelmed. And any peach-colored woman, wearing dresses of various colors, shuttles through the room, smiling and smiling, all of which are dazzling collocation and warm fusion.
In Peach Blossom, the beauties' faces are plain and gorgeous, and their cheeks are red with ice silver or ice blue eye shadow and vermilion lip gloss. Hair is either shaped into sideburns with hair gel, or curled beautifully around the ears, or naturally dragged over the shoulders. Sometimes I wear big patterned earrings and stilettos. The body is wrapped in gorgeous inches. Keiko Matsuzaka has a low-cut skirt with a bright green dress, a small stand-up collar of cheongsam, tight gauze with purple flowers, bright nails and bright spring.
The picture of a man appearing in Peach is very different. Yang Fan is no longer as enchanting as oil painting, but suddenly fell silent, as if holding a wooden pencil, with lead scraps on his fingers, sketching in the drizzle-like rustling. For example, the stubble on Sho's chin and the comfortable white vest, everything is so simple and calm. They are opposite each other in a bright space. Wu Jialong stands on the ground full of fallen leaves and looks up. Shao shoots alone in the room ... Yang Fan's description of men is light and bright, without crowded colors, and some are the softest and most authentic matches, but it does not prevent those ambiguous and attractive molecules from overflowing in the air. Everything is fermenting and brewing, like the smell of grass after a rainstorm, just like his own unprepared immersion.
Spring scenery in painting
When eye-catching billboards parade through the streets in the cross-harbour tunnel, the inflated desire in Peach has reached the public with tickling fingers. Avoid the face in the painting, leaving only the body. This is undoubtedly the genius of the designer. When people are eroded by lust, the five senses will distort and twitch uncontrollably, which is the most private, pure and ugly; Like an original sin. And the rest of the simple physical performance is more of a stage-like charm. A woman's long legs are high, the spring scenery at the bottom of her skirt is looming, and a tight nightgown can make any man excited. Her leaning against the wall shows that she has something to rely on in her heart. Of course, we can't know where this pride comes from for the time being, but she does have an air of being sure that she is in control of the overall situation. Big red high heels are a sign of danger and enthusiasm. The heels are slim and can be folded at any time. She is almost aggressive towards men. A man's body is slightly bent, and without proper center of gravity and support, his temperament naturally cannot be calm. His finger was placed on the woman's knee, which was not strong, and seemed to hesitate, conveying a message of refusing to welcome. This shot clearly shows the relationship between hunter and prey, and both sides are waiting for the opportunity.
As for Keiko Matsuzaka and Zhang Xiaohui's play, there is no half-mask pipa as expected. On the contrary, these two women are simply charming in the play. The excitement and addiction on Zhang's face when Song led Zhang to touch himself was in sharp contrast with Zhang's doubts and hesitation. Song, who has passed her destiny, is still in her prime, and her bohemian behavior has been interpreted as an irresistible style by her. Zhang's short hair and black skirt with suspenders are very similar to the girls in In the Mood for Love. Facing the abnormal and exciting lust, she waded carefully, but her heart seemed to be waiting for the cadenza to play, ready to jump in without hesitation.
Whether it is Yin Ziwei in Bisognin, Deng Haoguang in The Diary of a Teenage Girl, Daniel Wu in Dream in the Garden, Michael Lam and American sailors in Burgis Street, these handsome, tall and strong actors have exposed their beautiful bodies in Yang Fan's films, and Yang Fan has also infiltrated this strong personal aesthetic into the overall artistic conception of the film, such as passion. There are also some frolics in the shower. Even in pure movies like Girls' Day, the settings of scenes such as beaches, swimming pools and dance studios are quite useful to show the hero's bodybuilding. But the later wildness, at that time, was still very sunny and simple, but it had already shown a little obsession with self-destruction. Of course, these new faces, mostly born for models, are also popular here. Brigitte Lin recently acted as an off-screen voice in Yang Fan's films, and he expressed optimism about the bright future of Japanese supermodel Sho in Peach. However, compared with previous male models, although this Japanese model has a beard and looks like Takeuchi, she still feels too clean and thin on the whole. Another actor, Wu Jialong, is a truly standard male character in Yang Fan's films. He has strong arms, strong shoulders and thick chest muscles, and his body is permeated with a kind of male masculinity. Although there are rumors that his father, Richard Ng, objected to his acting in The First Hero because he acted in many erotic dramas, he was replaced by his current role. However, if you look at the photos taken by Wu Jialong before, you will know that this is not the first time he has been naked. From this point of view, it is difficult to guarantee that he will not use his physical capital to fight for a position in this highly controversial film.
However, compared with men, Yang Fan's aesthetic of women has not been so obvious and unique, especially in the early days. Although he also won a few big names such as Maggie Cheung and Cherie Chung, at that time, their images and personalities were mainly portrayed from the stories themselves. It was not until "Burgis Street" that his modeling became more and more brilliant. Complex and gorgeous interior decoration, colorful and saturated wig, heavy makeup; Exaggerated and changeable clothes, etc. All of them show another beautiful charm of traditional Chinese opera facial makeup. In addition, Yang Fan also showed a preference for retro from time to time. For example, the perfume sprayer with airbag that appeared in The Diary of a Teenage Girl was also used in Burgis Street. Although it's only a small detail, and I'm afraid it's unintentional in a girl's diary, in Burgis Street, it has to be said that there is another plan, and this prop is just right in line with the evil of the film. As for Peach Blossom, it can be clearly seen that it is the enhancement of this style. Regardless of how huge this dusty old house is for modern and retro design, just look at how Zhang Xiaohui, Keiko Matsuzaka and harisu, three women with different tastes, appear in ever-changing shapes, which is enough to ignite the whole screen. In the pursuit of true love, the so-called "women are fond of themselves" have an endless comparative understanding of their alienated faces like makeup and the hidden dangers of injury. The fading and collapse of heavy makeup symbolizes the rupture of another world and has great tension.
Yang Fan tricolor
Yang Fan grew up in Chinese mainland, Hongkong and Taiwan Province Province and has a good educational background. He graduated from Sao Paulo College in his early years. When he was young, he traveled all over Europe and America, studying movies and photography. In his early photography works (such as Paris in the Photographer's Mirror, Youth Journey, etc.). ), his wandering temperament and mixed Chinese and western humanistic atmosphere have been fully reflected. The film director's career, which began after this, also followed and developed his true colors during this period. The Diary of a Teenage Girl is the first time for many creative people, including Yang Fan and Wen Huican. It tells the story of a simple encounter, infatuation, dislocation and separation between a man and a woman. The picture is clean and fresh, and strong lighting is used indoors and outdoors, which makes the fairy-tale artistic conception come to my face. After that, Yang Fan's films are famous for their aesthetic and romantic style. He and Yi Shu co-created The Story of the Rose and The Last Romance, which were love classics of that year. The handsome, unsmiling and bookish male images created by Jiaming series can be called the template of Prince Charming in the hearts of many women at that time.
However, after this, I don't know whether the external situation of the film has changed or Yang Fan's personal heart has quietly changed, and his film style has undergone great rebellion and subversion. Different colors and abnormal love (such as "Beautiful Love" and "Dream in the Garden") suddenly became the focus of his concern and anxiety. People familiar with Yang Fan's films can still find that these films are more mature and responsible than the previous "fairy tales" and "essays" in terms of artistic techniques and film texture. Burgis Street, which he collaborated with Chen Guo, is the most rare masterpiece in this special period. Technically, its scene scheduling and character setting are more complicated, but ideologically and emotionally, it is also out of the past. Both the dramatized person and the naive, cheerful and self-sufficient Alian are endowed with different aspects of life texture and levels. Black street is a marginal community, but behind the chaotic life and bizarre phenomenon, Xiaolian finally sees a different meaning in life.
Yang Fan is not a prolific director, on the one hand, because he pursues the perfection of details and personal imagination in artistic style, and on the other hand, because after a period of creation, he often has a platform period of transformation, so if the early stage is summarized as "natural color" and "different color", then the peach represents his previous love, but maybe now it will create Yang Fan himself or a new port film. On this basis, people expect the prosperity of Korean romantic films.