Who can help me talk about "rouge buckle"? Thank you for your questions.

Rouge Kou is one of the masterpieces of Li Bihua, a Hong Kong writer. It tells the story of a prostitute with a red card who returns to the world to find her old love after her death. At that time, Ruhua and Wan Ku were both double martyrdom, but the twelve were rescued, separated by Yin and Yang, and a sad story of love and betrayal happened. This novel is regarded as a masterpiece of female consciousness awakening, and was later adapted into a film by the famous Hong Kong director Guan. Although it didn't achieve the expected success at the box office, it won unanimous praise from film critics. The heroine Anita Mui won the Golden Horse Award, the Hong Kong Golden Award and the Best Actress in the Asia-Pacific Film Festival. Originally, I planned to talk about this film in On the Difference between Novels and Movies, but later I thought it would be better to take it out alone, because I really like this novel by Li Bihua. When a novel is adapted into a film or TV series, it is easily influenced and bound by the original work, but the adapted work will undoubtedly be branded as a director to some extent. The film "Rouge Kou" left a deep impression on Director Guan, and his always delicate expression techniques were once again displayed. In the film version, the director and screenwriter made great changes to the original, poured a lot of sympathy and pen and ink into the flowers, and greatly deleted the shots of Yuan Yongding and Ling Chujuan, journalists of the original Chinese newspaper-this is one of the reasons why I can't accept the film version. The director seems to try his best to make the story fit the topic, but in my opinion, the rouge button is just a symbol. In the original book, Ruhua's memories of himself and the stories of twelve boys were all carried out in the questioning of Ruhua by Yuan Yongding and Ling Chujuan, and their feelings were greatly tested in the process. It can be said that Yuan Yongding and Ling Chujuan, especially Yuan Yongding, are the biggest protagonists in the novel. In his view, both Ru Hua and Ling Chujuan have strong feminine charm. Ruhua is a classical beauty, and Ling Chujuan is a modern beauty, but both of them have calculation, but their attitudes towards love are not exactly the same. Ruhua emphasizes life and death, but Ling Chujuan doesn't want such a piercing feeling. She wants to be more practical, or like a flower and Ling Chujuan are the "twin flowers" in the original work. By contrast, readers are shocked by women. It's a pity that movies focus on flowers in order to concentrate their thoughts. As a result, the flowers played by Anita Mui are just closed flowers, not new flowers. The flowers in the original work have a "small" calculation. The reason why she says "small" is because she is clever, and now women are very skilled. Compared with modern women (especially women in shopping malls), she is more like an immature child. From the beginning, she played tricks on Yuan Yongding. In order to let him help him find the stone, she used her affair with the stone as bait. She said, "You help me, and I will tell you everything myself." In the novel, Li Bihua satirizes this as a means of gathering guests, and explains: women are like this, you refuse, she advances; When you were very interested, she hung it up and sold it. This trick is played again and again, but many parts are omitted from the film (paving the way for her innocence and infatuation? ), not without regret. The flower in the original book is unlikely to get the sympathy of readers, and everyone will think that this woman is terrible. However, under the control of Guan and Anita Mui's interpretation, the flower in the film is endowed with too much sympathy, and everyone feels sorry for her and doesn't think she is terrible. This is the regret of the film I understand, but it is really the success of the director and actors. Another reason why I don't like the film "Rouge Kou" is that it really omits too many plots and highly concentrates the spirit of the original (in fact, it is more appropriate to compress it). As a best-selling author, Li Bihua consciously incorporated all business elements into the book. In her books, you can easily find the prototype of the characters or events in the story. In the novel, the Miss Hong Kong contest was held at the same time when the flowers were looking for the "12-year-old"-although the author didn't specify the boundary, the busybodies (such as me) could still see that this was the 1988 Hong Kong sister election, because the winner was a popular mixed-race (Michele Monique Reis). However, there is no such game in the movie, so Ling Chujuan can concentrate on helping Ruhua find the twelfth grade without tracking the report. In addition, she also mentioned many people in the entertainment industry at that time, such as Shao Yinyin's marriage to Sarawak and Chen Baozhu's play; It also shows the resistance and fear of Hong Kong people to the reunification in 1997, and it also reflects that Hong Kong people didn't know much about the Mainland at that time, because they would say, "That was our time. At that time, we wore cheongsam, walked, pulled carts, smoked opium and resigned ourselves. The ideal can't be realized, so we have to send our feelings to love. Everything has gone backwards for fifty years. " -Not unlovable. After reading the whole book, you can't help but think: this is simply an encyclopedia of life in Hong Kong, and of course it is a relatively vulgar encyclopedia. The biggest change in the film is that the director gave us a very clear ending-Ruhua went to the underworld to be reborn alone. However, no one in the book knows what Ruhua did, but only implicitly mentions that Twelve Little Drug Addicts were fined, and Ruhua left a rouge button-I always thought this was a symbol of Ruhua's rebirth, and she abandoned the past. It's just that the director's performance is clearer, which makes people less reverie (Tsui Hark handled the ending better in Green Snake, leaving a lot of room for thinking). In addition, there are some good changes. For example, at the end of the film, they crowded together in the crowd to watch people play, and the picture was interspersed with twelve performances on the stage. Anita Mui put the eyes of flower fans in place, which improved the interest of the film. In the original work, they watched a third-class film called "The Bold Woman of the Tang Dynasty" (about this film, I will emphasize it later, but it is not clear now). Although the author skillfully compares the fate of two prostitutes, it always makes people feel too abrupt. In any case, the film "Rouge Kou" is an excellent Hong Kong film, which takes into account the artistic pursuit to some extent while pursuing commercial success. In the film, Leslie Cheung, Anita Mui, Wan Ziliang (interestingly, he was also the hero of the Tang Dynasty) and Zhu Baoyi all performed well. Anita Mui, in particular, gives people a refreshing feeling, completely subverting people's inherent concept of female ghosts, and also subverting her own image positioning in the record industry to a certain extent, making her development in film and television more smooth. The theme song of the movie "Rouge Kou" is also quite up to standard, and the phrase "I am most afraid of paying the wrong amount of acacia" makes people sad. Finally, I want to give a suggestion to friends who haven't read books but are interested: watch movies before reading books. If you read a book before watching a movie, you can't help complaining, while watching a movie before reading a book will make you feel that the movie version is good and the book is better.