Hit by a car, slow-motion shot, upward angle capturing money flying in the air, downward angle capturing Hu Ge; rushed to the hospital, background sound of urgent emergency noises, everyone seems to be in a hurry; various flashbacks to the past, clichés more predictable than taking off pants to take a shit. This garbage drama is an insult to the three minutes of ads I watched. Tencent is trash. People who say it's good, we can't be friends.
LiDangDang1 year ago rating:9.9
I don't want to watch it anymore. It's too addictive, and I want to save it up and watch it all at once. The overall production is presented with intricate lighting, set designs, camera angles, and more, resembling a textbook. The use of flashbacks, non-linear storytelling, editing techniques is like a strategic blow to the drama industry. The actors have given their best performances, and the audience thoroughly enjoys watching it.
XiaoChengCheng1 year ago rating:5.3
It feels like a film made for middle-aged Shanghai men and a fantasy indulgence for men seeking excitement. It follows the formula of a smooth-sailing protagonist who achieves success with the guidance of others, surrounded by multiple beautiful women, and immersed in a world full of golden opportunities. Just the thought of it is enough to give them a mental climax. Hu Ge portrays this sense of a small person's rise to success very well, or rather, he plays it naturally.
Blameless1 year ago rating:5.5
Wong Kar-wai's mental age seems to still be stuck in the bright and melancholic period of a 17-year-old high school student. Just like how Hu Ge, in his 40s, is forever the 18-year-old Li Xiaoyao, they all refuse to grow up. And yet, they insist on creating a bunch of extravagant sets and buying the original work IP that won the Mao Dun Literature Prize. It reminds me of the surreal toy house in Crayon Shin-chan that Xiaohui loves to play with: the art direction is extremely glamorous and exquisite, but the participants are all children. When it comes to showing off, I'd rather watch "Tiny Times." At least Guo Jingming doesn't pretend to be serious about art by patting himself on the back. And Ma Yili has become even more annoying. If they wanted to portray a mature Shanghai auntie, the impression she gives me is nowhere near as good as Xu Di's portrayal of Mrs. Xue Zhenzhu, played by a Beijing native.
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BeanPal Otp6dTq_sg1 year ago rating:5.1
Wong Kar-wai excels at capturing visually stunning scenes with beautiful lighting and shadows. The way the female characters are portrayed also has its unique charm. Xin Zhi Lei's cinematography is particularly gorgeous. However, Wong Kar-wai isn't quite adept at storytelling, and it feels rather dull. Tang Yan and Hu Ge, as always, fail to spark any interest or curiosity. Their acting skills have remained mediocre over the past decade, and I can easily predict their next facial expressions and tone of voice!
Hanzuqudushu1 year ago rating:9.7
Hu Ge + Wong Kar-wai, I'll watch whatever they make. And to top it off, we have Xin Zhi Lei's appearance. The visuals, composition, lighting, camera movements, transitions, and music in this drama are superior to the vast majority of TV shows and movies. Hu Ge's acting in the 14 episodes is absolutely outstanding!
Dinglingdanglang1 year ago rating:6.3
The floating storyline is boring and fails to captivate the audience. Is it really possible for someone to make a fortune through speculation in 1992 or 1993? The plot is confusing, and if Wang wants to go down this path, he needs to find actors with enough charm to endure it. However, the pretentious style of the male lead clashes with his character. I'll give one extra star for the entertainment industry's money-making success, which is always advantageous.
Unforgiving1 year ago rating:5.9
The main feeling is that people from the 1980s, 1990s, and early 2000s took advantage of the opportunities brought by reforms to make money, and then fantasized about restoring the old Shanghai Bund. The strong sense of self-superiority and self-righteous bourgeois sentiment of the local people in Shanghai is portrayed vividly. So, although this drama tells the story of China during the reform era in Shanghai, it is also about fantasizing the lost flourishing era of the grand Shanghai, the unrivaled Shanghai, and the lawless Shanghai, just like those characters of the red and green society.
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JadeCaramel1 year ago rating:9.8
There are so many low ratings, but it's not that bad. Within the realm of five stars, it deserves five stars. This is actually a suspenseful and ambiguous drama, filled with tension, amusement, and emotions. Occasionally, there are narrations that align with core values, which is quite peculiar. I wonder if Wong Kar-wai lost control over what he couldn't control, or if it's simply a result of his age catching up with him.
Perhaps because it revolves around the 1990s Shanghai business war, it makes the audience who are concerned with realism start nitpicking. One moment it's about financial leaders, the next it's about leading the foreign trade, and then it shifts to the reorganization of the Huanghe Road catering industry. The plot itself is not so "serious.
Considering the scale of a TV drama, it's enjoyable to watch. Despite occasional moments where the beautiful symbolism falls into the realm of situational comedy.
After watching four or five episodes, it gradually gets better. The first couple of episodes may feel slow-paced, but by the end of the seventh or eighth episode, it feels too short. Many characters' thoughts seem unexpressed, and several situations seem to lack opportunities for verification.
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Gxlrs1 year ago rating:9.3
No need to say much, just feeling nostalgic. I often watch dramas from the 80s and 90s, especially those set in northern regions, particularly Northeast China, depicting the hardships of economic depression and layoffs, or suspenseful plots. Meanwhile, in the southern regions, especially in the Yangtze River Delta area, there are dramas about doing business and corporate battles. It truly reflects how art derives from life. It's not about praising or criticizing, just a feeling of nostalgia.
BeanFriend0mShuzIzOE1 year ago rating:6
After watching one episode, it feels like one of those power-fantasy novels where the male protagonist is overpowered and lacks depth. Hu Ge has always played these types of strong male leads, and he has experience in this genre. The good news is that he has plenty of experience, but the bad news is that his acting skills have remained the same for twenty years, as if it's still his first day.
Bailujiu1 year ago rating:9.9
Everyone on the internet is mindlessly criticizing, don't they have any discernment? These women are all familiar faces, we've seen what they look like in other dramas. Wong Kar-wai has captured them so beautifully, how can't you tell who's good and who's bad? If you're used to seeing average-looking women, how would you know what true beauty is?
Shengmo'er1 year ago rating:9.9
You can't explain what's captivating about it, but the more you watch, the more captivated you become. It's so captivating that it causes insomnia. Truly a masterpiece! In just a few scenes, it conveys so much that other TV dramas couldn't explain in several episodes. Every shot is exquisite, and the characters are fascinating. On the surface, it's a thrilling drama about business competition, but if you delve deeper, it's about human relationships. You must watch the Shanghai dialect version (especially as the story unfolds). Up until the eighth episode, my favorite storyline is Baowang, followed by Baoling. They truly create an "atmosphere" and have vitality. This drama is a feast for the eyes, and Hu Ge looks incredibly handsome under Wong Kar-wai's direction.
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RoxanneAya1 year ago rating:9.8
It's unexpectedly captivating. The first three episodes had a strong Republican era vibe, combined with a scattered portrayal of daily life, which created an enigmatic atmosphere. However, starting from the fourth episode, the real excitement began. All the plotlines intertwined seamlessly, with a smooth and coherent rhythm and transitions. It was a complete and engrossing experience, and I couldn't stop watching until the latest update. I'm really eager to see what happens next. Is this really a TV drama directed by Wong Kar-wai, the renowned art filmmaker? It's absolutely amazing!
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HendelFingers1 year ago rating:5.3
It's so ugly! The plot makes no sense at all, and they keep arguing. Listening to it gives me a headache, and it even casts a shadow on Shanghainese dialect for me. The camera angles are also inexplicable, and they even use vertical layout to quote some meaningless lines. If I give this thing a high score, I'm really sorry to other people in mainland China who make TV dramas seriously!
StormyWeather1 year ago rating:6.4
Apart from Ye Shu's voice acting, which is decent, the male lead's acting has become increasingly greasy. It feels like he's aware that he's acting, and the audience can easily see through his performance. Moreover, I don't understand why modern-day period dramas are covered in such heavy modern filters. It completely lacks immersion.
Momo1 year ago rating:6.5
Perhaps Hong Kong people are more suited to fantasizing about the Republican-era Shanghai. The dream amidst chaos, even if it's not entirely realistic, is easier for people to accept. The early 1990s Shanghai is no longer conducive to such dreams because its vitality is real, grounded, and progressing step by step.
Momo1 year ago rating:9.5
Xin Zhi Lei is killing it this time. She's bound to win Best Actress next year. And Tang Yan's performance in Shanghainese is surprisingly delightful to watch. Moreover, based on the visual quality alone, "Fanhua" is worth following. So, fellow drama enthusiasts, treat yourselves to something good!
Xiaoxian1 year ago rating:9.9
The first episode is full of suspense, an ensemble cast, and a lot of information. Plus, the addition of Shanghainese dialect gives it an extra boost. As long as the final execution is good, it can be summed up with "I like it.
I can already see the signs of polarizing opinions outside the drama. People's differences are already significant. Instead of worrying about how others evaluate it, it's better to try it out personally. If being in an information bubble is inevitable, at least I'll be comfortable in the bubble I've created myself.
ShadowAbsorber1 year ago rating:9.7
The Shanghai depicted in "Chrysanthemum" is like the mahjong scene at the beginning of "Lust, Caution" - beneath the raised eyebrows and the high-low conversations, there are hidden undercurrents and intricate struggles. You can count on one hand the number of Chinese directors who can achieve such mastery in their storytelling. Those who can't see the underwater iceberg are quite proud of themselves for only seeing a block of ice. And let's not even mention the visuals. While the best of Chinese-language directors in the "film quality" category are still presenting stories well and exploring their own styles by drawing inspiration from their favorite directors, Wong Kar-wai's unique visual aesthetics have already reached a world-class level. A series like "Chrysanthemum" is like a nuclear bomb. It challenges many people's aesthetic experience of television dramas. You seem to be tolerant of niche values. Can you also be tolerant of a highly stylized TV drama?
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Abby1 year ago rating:6.3
A story about 1990s Shanghai, the overall visual style and color palette exude a nostalgic Hong Kong Republican era vibe. Is the excessive use of voice-over narration because they're afraid viewers won't understand? Bringing the film's aesthetic to a TV drama doesn't automatically make it high-quality.
The target audience seems to be completely different. After watching two episodes, all I can say is that the visuals and color palette are filled with a sense of extravagance and opulence. I can't even see the portrayal of 1990s Shanghai. Wong Kar-wai should stick to directing movies. TV dramas are not suitable for him.
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Ophelia1 year ago rating:9.9
???? In just half an episode, they depicted A Bao's entrepreneurial journey and showcased the striking contrast in A Bao's state between two time periods. The fierce competition among "San Yang Brand" agents left a lasting impression on me. A Bao's mindset, tactics, and vision were laid bare for all to see. The unexpected compactness in the plot arrangement was truly captivating. It's really enjoyable to watch.
CuriousBean1 year ago rating:9.6
When watching the first two episodes: There are too many narrations, is Wong Kar-wai still capable? When watching the third and fourth episodes: I actually got immersed in it, maybe Wong Kar-wai still has it.
Just caught up with the latest episodes: I was so engrossed that I forgot to take a shower? ! Wong Kar-wai is truly amazing!
WangSen1 year ago rating:9.5
Wong Kar-wai is truly relentless; this is such a blow to the industry. How will other TV dramas ever measure up? It's a visual feast, perhaps the most beautiful series in history. In fact, they are making an effort to tell a story, just not from the usual perspectives commonly seen in TV dramas.
zy_1 year ago rating:5.4
I watched one episode of this, and what is this? I mean, movies and TV are different mediums, but this feels like a parody of Wong Kar-wai, and it doesn't sit well with me at all. And the excessive use of the golden hour lighting, like a perfume commercial, is really unnecessary...
BeanPod1 year ago rating:9.6
The plot is becoming more and more exciting. There is not a single scene or line of dialogue that is pointless. No matter how much criticism Blossom encounters, it will eventually become a classic Chinese drama and, within a few years, an unattainable industry benchmark.
Blasphemy1 year ago rating:5.3
Just as expected from Wong Kar-wai. This adaptation not only has nothing to do with Jin Yucheng's original work, but it also has no connection to 1990s Shanghai. The directors who actually do the work are trying to be pretentious in terms of visuals and sound, attempting to mimic our master director, Sunglasses Wong. As a result, the narrative pace falls apart, resembling the awkwardness of watching Zack Snyder's slow-motion fight scenes and posing. After watching the first four episodes, it's clear that the actors are merely striking poses, and while the screenwriters may manage to focus on the main events of each episode, the story is like exquisite set design—superficially appealing but lacking substance upon closer examination.
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EscapedPrincess1 year ago rating:7.7
I'd give it 2-3 stars. The BGM feels cheap, and the slow-motion scenes also feel gratuitous. The story primarily relies on dialogue, and the color grading of the visuals resembles the Republican era. Some shots could be directly taken as GQ celebrity posters (I'm not complimenting it with this statement). Overall, it's just average. If you insist on watching, you can, but skipping it won't result in any major loss.
DaisukiNaNa1 year ago rating:9.7
They can make "Shan Hai Qing" for people from Northwest China, "Ji Mao Fei Shang Tian" for people from Jiangsu and Zhejiang, "Kuang Biao" for people from Guangdong, and "Chuang Guan Dong" for people from Northeast China, but they can't accept "Fan Hua" for people from Shanghai?
GUMMO1 year ago rating:8.8
You must watch the Shanghainese version, the Mandarin version doesn't feel right. Many elements are Wong's signature moves, brought into the TV drama. It feels a bit uncomfortable at first, but once you get used to it, your attention never leaves the screen. The visual aesthetics and the density of information in the script are unlike anything I've seen in mainland dramas. The level of experimentation with form is rare worldwide, only a few renowned directors have ventured into TV dramas on this scale. It's a privilege of great directors. Although I can't genuinely appreciate the content related to the world of money, I'm still captivated by the overall production. While Wong is often regarded as an art-house film director, his approach is fundamentally different from the typical art-house directors. He has always worked with whoever is popular. "Blossoms" and "In the Mood for Love" have similarities in terms of visual style, and even without considering the content, the visuals alone are enough to dazzle and enchant. When "In the Mood for Love" was released, it left the audience in a state of ambiguity, but that didn't stop many people from becoming obsessed with it. Another similarity is that both Wong and Alain Resnais are exceptional editors, and upon careful observation, the editing in "Blossoms" is still brilliant. In conclusion, being able to watch this is truly a gain, especially in the current landscape where there is an abundance of mediocre dramas. Some may say that Wong Kar-wai suffers from the "auteur syndrome," but I hope his condition doesn't improve.
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Gether1 year ago rating:5.5
Lǎo B Dēng, don't dabble in the small screen anymore. It feels extremely outdated, and the film language is all over the place with a strange pace. The actors are also lackluster, as if they are completely acting while acting, which results in a very unconvincing performance. Additionally, the dubbing in this is just unbearable.
Fairy71 year ago rating:9.7
It's really enjoyable! The way they switch between dialects from different regions in Jiangsu, Zhejiang, and Shanghai is really interesting. Suzhou dialect is the softest and most melodious language in the world, isn't it? Hu Ge has a great presence, and both Mr. Fan and Miss Wang have surpassed their own acting skills. I've learned from watching Ling Zi's money-mindedness. Haha.
Lich1 year ago rating:9.8
I really love the Fujifilm-style cinematography, it's very artistic and nostalgic. Hu Ge looks so handsome, and the Shanghai dialect sounds beautiful. It just goes to show that we shouldn't lose our regional dialects! The story is also very realistic, and I really appreciate seeing this kind of theme in the present day. I actually bought the book in my first year of high school, but I didn't read it at the time. Now I'm really eager to dig it out and give it a read.
BubbleMilkTea1 year ago rating:9.6
An actor's greatest fortune is to encounter worthy adversaries and directors during their prime. Likewise, a director's greatest fortune is to find actors who can convey their philosophies during a period of abundant creativity. This is the first time I've been so fond of Director Sunglasses Wang's work.
MoAngry1 year ago rating:9.9
After eight episodes, I confidently give it a five-star rating. Miss Wang is such a captivating "bump-and-cry expert." She works diligently, lives positively, and her sincerity makes her adorable. Although she sees herself as Cinderella, in the eyes of many, including mine, she will always be Snow White. Their story began with Clara Schumann's postage stamp.
Clouds and Moon1 year ago rating:6.6
After watching 8 episodes, style outweighs substance! It has a bit of that taste of Zhang Jiajia's terrible film "The Ferryman." Regardless of the foreground and background, everything is a dazzling array of colorful neon lights. Each shot has moving foreground and background, and the dialogue is also quite noisy. Every few minutes, that music comes in, and the overall impression is that it's noisy, chaotic, and overwhelming, leaving viewers restless. The editing seems to be mismatched with the quality of the cinematography, lacking any transition techniques. Usually, it's a sudden cut from one shot to the next without any smoothness. All the characters feel like they're behind a layer of glass, in a distorted state that prevents empathy. Tang Yan really lacks any acting skills; in the later episodes, she's just shouting, with a high-pitched voice that really gives me a headache. Xin Zhi Lei, on the other hand, is quite stunning. Maybe it's because she has fewer lines, but finally, there's a character who doesn't talk much. This drama has truly exhausted me.
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Heta1 year ago rating:9.8
The content of this drama is well-presented. Although there are three important female characters, their relationships with the male lead are all different. The relationship between Miss Wang and Bao Zong is filled with ambiguous romantic tension. Ling Zi and Bao Zong's relationship portrays the everyday life of mundane matters. Li Li and Bao Zong's relationship is a mutual admiration despite being evenly matched (although the female character may be slightly weaker at the moment).
Hu Ge's portrayal of Bao Zong is very charismatic. He embodies loyalty, gratitude, courage, and thoughtfulness. Even though he has connections with three women, he doesn't come across as a scoundrel. I think the current dynamics are great, and it would be better not to force him to marry one of the women in the end. Isn't it wonderful for each of them to shine brightly in their respective fields? The current relationship dynamics are the best!
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Shisan1 year ago rating:9.7
I don't understand the mentality of those who give one star ⭐️ and criticize the messy plot, acting pretentious, and claim it's as bad as "The Ferryman." I wonder what kind of dramas you usually watch, your standards must be really high. This time, it's personally directed by Wang Sunglasses. Just think about it, it can't be that bad. This is a masterpiece at the master level. The first few episodes might be a bit dull, but as long as you keep watching, the later plot is captivating and reaches its peak.
Marcel1 year ago rating:5.5
It had nothing to do with the beautiful and intricate world I had imagined. It simply turned into "Rebirth on Wall Street: A Bao." It lost the original work's sense of melancholy and the pitiful undertone of the characters, instead adopting a cheesy and cliché style reminiscent of Korean dramas. The excessive use of overly exciting background music without clear reason felt out of place. The attempt to incorporate elements from the film into the TV drama was truly awkward and ineffective.
Yuè Qǐ Luó Bù Yádé1 year ago rating:9.5
I couldn't stop watching after six episodes, I loved it so much! Wong Kar-wai's cinematography is truly exceptional, and You Ben Chang's acting is superb. In the first episode, A Bao's complex gaze had so many layers. Ma Yi Li is simply the embodiment of Ling Zi. Hu Ge, please keep up the handsome appearance, A Bao is definitely one of your standout roles! Also, switching to the Shanghainese version after watching one episode felt so authentic!
DreamerGoneBad1 year ago rating:9.9
Keep filming and film more. Even a decaying piece of wood can be carved into something beautiful. How can they make it so good, capturing the essence and story of each character? How did they achieve this? This is truly how you preserve the most beautiful image of female actors. Don't you want to be a part of Wong Kar-wai's works?
If you have any further requests, feel free to let me know!
Every Moment I Like1 year ago rating:9.9
It's amazing! Even though it has a male lead, every female character feels so authentic and well-developed. The visuals are as beautiful as a movie, and the pacing is excellent. The quality is top-notch, a masterpiece of the year! I'm willing to watch it over and over again because it's so beautiful, so captivating, and yet so real! Damn, it's incredible!
Luna1 year ago rating:6.1
I really don't mean anything bad, but can we please avoid mixing Shanghainese with Mandarin? It sounds so awkward... The plot itself doesn't matter to me, but what kind of dumbed-down roles are Tang Yan and Ma Yili playing...? Are the other characters, aside from Teacher You Ben Chang, just there to highlight Hu Ge's intelligence???
Enquirer1 year ago rating:9.6
With a focus on Bao Zong's entrepreneurial journey, the TV drama showcases the charm of Shanghai during the era of reform and opening up. The portrayal of ordinary people is rich, and the emotions are deep. It takes the foundation of real life and adds an artistic touch, bringing to life the vibrant development of Shanghai at that time.
key1 year ago rating:9.9
I really love this tumultuous world. What captivates me has always been people. The vibes of Shanghai, the exportation of goods, the birth of the first stock, Huanghe Road, the ten-mile foreign concession, Suzhou River, the warmth and coldness of human relationships... Three women became the entirety of A Bao's life.
Shannon1 year ago rating:5.1
The editing in this drama is way too frequent. Is it an MV or a PowerPoint presentation? Not to mention the costuming. I thought it was set in the 1920s, not the 90s... Can the music tone it down a bit? The plot is confusing, and the fragmented storylines aren't suitable for a TV drama.
GuaziSnacker1 year ago rating:9.3
The story is decent, as I'm not familiar with that era in Shanghai, so I can only see it as a story. Hu Ge performs normally, nothing extraordinary. Ma Yi Li also delivers a normal performance, with some subtle details that shine. Tang Yan has the worst styling, but she truly captures the spirit and portrays the character with great delicacy. Xin Zhi Lei is quite pretentious; it's the first time I feel she can be called a female bking. Dong Yong is a skilled actor, and Mr. Fan's character is particularly vivid and dynamic. The scenes between Tang Yan and Hu Ge are captivating, not in a romantic sense, but perhaps due to their chemistry and familiarity. Sometimes while watching, it feels like glimpses into their daily lives. Both of them have changed over the years, yet they haven't changed at all.
You Ben Chang doesn't seem like he's 90 years old at all. I wish him good health! Honestly, because of the subject matter, I had no expectations for "Blooming Flowers," but after it premiered, I found it to be quite decent.
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CritiqueMaster1 year ago rating:9.7
From the very first day, I wanted to give it five stars. Not to mention the color tones and music, which I already love, it's a depiction of the real years and environment I've experienced! It's incredibly authentic! It brings back memories of the first wave of foreign-funded hotels in Shanghai! Even the cutlery feels familiar!
Even if you're a Shanghai local who doesn't frequent the hotel and catering industry, you might not necessarily find it realistic, and that's fine. But please don't criticize it so easily.
Hong Kong has its own shows like "Glamorous Days" and "Tin Shui Wai," so why don't we complain about those not being a true representation of Hong Kong? How close were Shanghai and Hong Kong in the 90s? Many executives from foreign and Hong Kong companies, how many of them liked to spend money on Zhapu Road and Huanghe Road? (When I watched the trailer, I thought Wong Kar-wai must have gone there often) Let's talk about the Blue Ribbon JJ era and the Disco Qian Gui! It was much more vibrant back then compared to now!
Most viewers enjoy something down-to-earth, but there are also people who can't stand it! Is it a crime to have visually stunning scenes? Moreover, those scenes did indeed happen in the past!
The narrative has a resemblance to American dramas, and that's the rhythm I enjoy! Don't think that things you don't know about don't exist. Don't think that your surroundings are the entire world. Acknowledge the objective reality. Is it so difficult?
Thank you, Director Wong, for creating this feast for us.
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MidnightAime1 year ago rating:9
After watching eight episodes, there's no need to praise Wong's technical expertise. The storyline is also quite good, although it has no relation to the original work. These two episodes have laid many hidden threads, so the upcoming episodes should be even more exciting. Ye Shu's voice dubbing has that old Hong Kong film flavor, which is nice. Hu Ge and Ye Shu's taste in suits exudes an old-money vibe, making it one of the best-dressed dramas in the land, aside from the gangster genre. It's evident that the director favors Xin Zhi Lei, as her scenes are beautifully shot, showcasing all her strengths. However, with so many big-name actors, the character that has left the deepest impression so far is surprisingly Boss Fan (范老板), haha, "Annie"...! Dong Yong's portrayal in this style is also well done. The performance of other characters is average at the moment.
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BeanFriend21371 year ago rating:9.9
When I watched the trailer before, I didn't have high expectations for it. I just thought it would be absolutely beautiful. But starting from the third episode, I felt it grabbed me, with such a fast pace that I wanted to finish it all at once. I even Googled A Bao's ending, fearing that this deeply loyal and sentimental character would have an unfortunate fate. Director Wong Kar-wai truly captured the distinctive characteristics of each character, and what's even more important is how beautifully it was filmed. Every time Boss Bao appears at the Huanghe Road Restaurant, something tense and significant happens. It's been a long time since I've encountered such a captivating TV drama.
Hit by a car, slow-motion shot, upward angle capturing money flying in the air, downward angle capturing Hu Ge; rushed to the hospital, background sound of urgent emergency noises, everyone seems to be in a hurry; various flashbacks to the past, clichés more predictable than taking off pants to take a shit.
This garbage drama is an insult to the three minutes of ads I watched. Tencent is trash. People who say it's good, we can't be friends.
I don't want to watch it anymore. It's too addictive, and I want to save it up and watch it all at once. The overall production is presented with intricate lighting, set designs, camera angles, and more, resembling a textbook.
The use of flashbacks, non-linear storytelling, editing techniques is like a strategic blow to the drama industry. The actors have given their best performances, and the audience thoroughly enjoys watching it.
It feels like a film made for middle-aged Shanghai men and a fantasy indulgence for men seeking excitement. It follows the formula of a smooth-sailing protagonist who achieves success with the guidance of others, surrounded by multiple beautiful women, and immersed in a world full of golden opportunities.
Just the thought of it is enough to give them a mental climax. Hu Ge portrays this sense of a small person's rise to success very well, or rather, he plays it naturally.
Wong Kar-wai's mental age seems to still be stuck in the bright and melancholic period of a 17-year-old high school student. Just like how Hu Ge, in his 40s, is forever the 18-year-old Li Xiaoyao, they all refuse to grow up.
And yet, they insist on creating a bunch of extravagant sets and buying the original work IP that won the Mao Dun Literature Prize. It reminds me of the surreal toy house in Crayon Shin-chan that Xiaohui loves to play with: the art direction is extremely glamorous and exquisite, but the participants are all children.
When it comes to showing off, I'd rather watch "Tiny Times." At least Guo Jingming doesn't pretend to be serious about art by patting himself on the back. And Ma Yili has become even more annoying.
If they wanted to portray a mature Shanghai auntie, the impression she gives me is nowhere near as good as Xu Di's portrayal of Mrs. Xue Zhenzhu, played by a Beijing native.
Wong Kar-wai excels at capturing visually stunning scenes with beautiful lighting and shadows. The way the female characters are portrayed also has its unique charm. Xin Zhi Lei's cinematography is particularly gorgeous.
However, Wong Kar-wai isn't quite adept at storytelling, and it feels rather dull. Tang Yan and Hu Ge, as always, fail to spark any interest or curiosity. Their acting skills have remained mediocre over the past decade, and I can easily predict their next facial expressions and tone of voice!
Hu Ge + Wong Kar-wai, I'll watch whatever they make. And to top it off, we have Xin Zhi Lei's appearance. The visuals, composition, lighting, camera movements, transitions, and music in this drama are superior to the vast majority of TV shows and movies.
Hu Ge's acting in the 14 episodes is absolutely outstanding!
The floating storyline is boring and fails to captivate the audience. Is it really possible for someone to make a fortune through speculation in 1992 or 1993? The plot is confusing, and if Wang wants to go down this path, he needs to find actors with enough charm to endure it.
However, the pretentious style of the male lead clashes with his character. I'll give one extra star for the entertainment industry's money-making success, which is always advantageous.
The main feeling is that people from the 1980s, 1990s, and early 2000s took advantage of the opportunities brought by reforms to make money, and then fantasized about restoring the old Shanghai Bund.
The strong sense of self-superiority and self-righteous bourgeois sentiment of the local people in Shanghai is portrayed vividly. So, although this drama tells the story of China during the reform era in Shanghai, it is also about fantasizing the lost flourishing era of the grand Shanghai, the unrivaled Shanghai, and the lawless Shanghai, just like those characters of the red and green society.
There are so many low ratings, but it's not that bad. Within the realm of five stars, it deserves five stars. This is actually a suspenseful and ambiguous drama, filled with tension, amusement, and emotions.
Occasionally, there are narrations that align with core values, which is quite peculiar. I wonder if Wong Kar-wai lost control over what he couldn't control, or if it's simply a result of his age catching up with him.
Perhaps because it revolves around the 1990s Shanghai business war, it makes the audience who are concerned with realism start nitpicking. One moment it's about financial leaders, the next it's about leading the foreign trade, and then it shifts to the reorganization of the Huanghe Road catering industry.
The plot itself is not so "serious.
Considering the scale of a TV drama, it's enjoyable to watch. Despite occasional moments where the beautiful symbolism falls into the realm of situational comedy.
After watching four or five episodes, it gradually gets better. The first couple of episodes may feel slow-paced, but by the end of the seventh or eighth episode, it feels too short.
Many characters' thoughts seem unexpressed, and several situations seem to lack opportunities for verification.
No need to say much, just feeling nostalgic. I often watch dramas from the 80s and 90s, especially those set in northern regions, particularly Northeast China, depicting the hardships of economic depression and layoffs, or suspenseful plots. Meanwhile, in the southern regions, especially in the Yangtze River Delta area, there are dramas about doing business and corporate battles.
It truly reflects how art derives from life. It's not about praising or criticizing, just a feeling of nostalgia.
After watching one episode, it feels like one of those power-fantasy novels where the male protagonist is overpowered and lacks depth. Hu Ge has always played these types of strong male leads, and he has experience in this genre.
The good news is that he has plenty of experience, but the bad news is that his acting skills have remained the same for twenty years, as if it's still his first day.
Everyone on the internet is mindlessly criticizing, don't they have any discernment? These women are all familiar faces, we've seen what they look like in other dramas. Wong Kar-wai has captured them so beautifully, how can't you tell who's good and who's bad?
If you're used to seeing average-looking women, how would you know what true beauty is?
You can't explain what's captivating about it, but the more you watch, the more captivated you become. It's so captivating that it causes insomnia. Truly a masterpiece! In just a few scenes, it conveys so much that other TV dramas couldn't explain in several episodes.
Every shot is exquisite, and the characters are fascinating. On the surface, it's a thrilling drama about business competition, but if you delve deeper, it's about human relationships. You must watch the Shanghai dialect version (especially as the story unfolds).
Up until the eighth episode, my favorite storyline is Baowang, followed by Baoling. They truly create an "atmosphere" and have vitality. This drama is a feast for the eyes, and Hu Ge looks incredibly handsome under Wong Kar-wai's direction.
It's unexpectedly captivating. The first three episodes had a strong Republican era vibe, combined with a scattered portrayal of daily life, which created an enigmatic atmosphere. However, starting from the fourth episode, the real excitement began.
All the plotlines intertwined seamlessly, with a smooth and coherent rhythm and transitions. It was a complete and engrossing experience, and I couldn't stop watching until the latest update. I'm really eager to see what happens next.
Is this really a TV drama directed by Wong Kar-wai, the renowned art filmmaker? It's absolutely amazing!
It's so ugly! The plot makes no sense at all, and they keep arguing. Listening to it gives me a headache, and it even casts a shadow on Shanghainese dialect for me. The camera angles are also inexplicable, and they even use vertical layout to quote some meaningless lines.
If I give this thing a high score, I'm really sorry to other people in mainland China who make TV dramas seriously!
Apart from Ye Shu's voice acting, which is decent, the male lead's acting has become increasingly greasy. It feels like he's aware that he's acting, and the audience can easily see through his performance.
Moreover, I don't understand why modern-day period dramas are covered in such heavy modern filters. It completely lacks immersion.
Perhaps Hong Kong people are more suited to fantasizing about the Republican-era Shanghai. The dream amidst chaos, even if it's not entirely realistic, is easier for people to accept.
The early 1990s Shanghai is no longer conducive to such dreams because its vitality is real, grounded, and progressing step by step.
Xin Zhi Lei is killing it this time. She's bound to win Best Actress next year. And Tang Yan's performance in Shanghainese is surprisingly delightful to watch.
Moreover, based on the visual quality alone, "Fanhua" is worth following. So, fellow drama enthusiasts, treat yourselves to something good!
The first episode is full of suspense, an ensemble cast, and a lot of information. Plus, the addition of Shanghainese dialect gives it an extra boost. As long as the final execution is good, it can be summed up with "I like it.
I can already see the signs of polarizing opinions outside the drama. People's differences are already significant. Instead of worrying about how others evaluate it, it's better to try it out personally.
If being in an information bubble is inevitable, at least I'll be comfortable in the bubble I've created myself.
The Shanghai depicted in "Chrysanthemum" is like the mahjong scene at the beginning of "Lust, Caution" - beneath the raised eyebrows and the high-low conversations, there are hidden undercurrents and intricate struggles.
You can count on one hand the number of Chinese directors who can achieve such mastery in their storytelling. Those who can't see the underwater iceberg are quite proud of themselves for only seeing a block of ice.
And let's not even mention the visuals. While the best of Chinese-language directors in the "film quality" category are still presenting stories well and exploring their own styles by drawing inspiration from their favorite directors, Wong Kar-wai's unique visual aesthetics have already reached a world-class level.
A series like "Chrysanthemum" is like a nuclear bomb. It challenges many people's aesthetic experience of television dramas. You seem to be tolerant of niche values.
Can you also be tolerant of a highly stylized TV drama?
A story about 1990s Shanghai, the overall visual style and color palette exude a nostalgic Hong Kong Republican era vibe. Is the excessive use of voice-over narration because they're afraid viewers won't understand? Bringing the film's aesthetic to a TV drama doesn't automatically make it high-quality.
The target audience seems to be completely different. After watching two episodes, all I can say is that the visuals and color palette are filled with a sense of extravagance and opulence. I can't even see the portrayal of 1990s Shanghai.
Wong Kar-wai should stick to directing movies. TV dramas are not suitable for him.
???? In just half an episode, they depicted A Bao's entrepreneurial journey and showcased the striking contrast in A Bao's state between two time periods.
The fierce competition among "San Yang Brand" agents left a lasting impression on me. A Bao's mindset, tactics, and vision were laid bare for all to see.
The unexpected compactness in the plot arrangement was truly captivating. It's really enjoyable to watch.
When watching the first two episodes: There are too many narrations, is Wong Kar-wai still capable? When watching the third and fourth episodes: I actually got immersed in it, maybe Wong Kar-wai still has it.
Just caught up with the latest episodes: I was so engrossed that I forgot to take a shower?
! Wong Kar-wai is truly amazing!
Wong Kar-wai is truly relentless; this is such a blow to the industry. How will other TV dramas ever measure up? It's a visual feast, perhaps the most beautiful series in history.
In fact, they are making an effort to tell a story, just not from the usual perspectives commonly seen in TV dramas.
I watched one episode of this, and what is this? I mean, movies and TV are different mediums, but this feels like a parody of Wong Kar-wai, and it doesn't sit well with me at all.
And the excessive use of the golden hour lighting, like a perfume commercial, is really unnecessary...
The plot is becoming more and more exciting. There is not a single scene or line of dialogue that is pointless. No matter how much criticism Blossom encounters, it will eventually become a classic Chinese drama and, within a few years, an unattainable industry benchmark.
Just as expected from Wong Kar-wai. This adaptation not only has nothing to do with Jin Yucheng's original work, but it also has no connection to 1990s Shanghai. The directors who actually do the work are trying to be pretentious in terms of visuals and sound, attempting to mimic our master director, Sunglasses Wong.
As a result, the narrative pace falls apart, resembling the awkwardness of watching Zack Snyder's slow-motion fight scenes and posing. After watching the first four episodes, it's clear that the actors are merely striking poses, and while the screenwriters may manage to focus on the main events of each episode, the story is like exquisite set design—superficially appealing but lacking substance upon closer examination.
I'd give it 2-3 stars. The BGM feels cheap, and the slow-motion scenes also feel gratuitous. The story primarily relies on dialogue, and the color grading of the visuals resembles the Republican era. Some shots could be directly taken as GQ celebrity posters (I'm not complimenting it with this statement).
Overall, it's just average. If you insist on watching, you can, but skipping it won't result in any major loss.
They can make "Shan Hai Qing" for people from Northwest China, "Ji Mao Fei Shang Tian" for people from Jiangsu and Zhejiang, "Kuang Biao" for people from Guangdong, and "Chuang Guan Dong" for people from Northeast China, but they can't accept "Fan Hua" for people from Shanghai?
You must watch the Shanghainese version, the Mandarin version doesn't feel right. Many elements are Wong's signature moves, brought into the TV drama. It feels a bit uncomfortable at first, but once you get used to it, your attention never leaves the screen.
The visual aesthetics and the density of information in the script are unlike anything I've seen in mainland dramas. The level of experimentation with form is rare worldwide, only a few renowned directors have ventured into TV dramas on this scale.
It's a privilege of great directors. Although I can't genuinely appreciate the content related to the world of money, I'm still captivated by the overall production. While Wong is often regarded as an art-house film director, his approach is fundamentally different from the typical art-house directors.
He has always worked with whoever is popular. "Blossoms" and "In the Mood for Love" have similarities in terms of visual style, and even without considering the content, the visuals alone are enough to dazzle and enchant.
When "In the Mood for Love" was released, it left the audience in a state of ambiguity, but that didn't stop many people from becoming obsessed with it. Another similarity is that both Wong and Alain Resnais are exceptional editors, and upon careful observation, the editing in "Blossoms" is still brilliant.
In conclusion, being able to watch this is truly a gain, especially in the current landscape where there is an abundance of mediocre dramas. Some may say that Wong Kar-wai suffers from the "auteur syndrome," but I hope his condition doesn't improve.
Lǎo B Dēng, don't dabble in the small screen anymore. It feels extremely outdated, and the film language is all over the place with a strange pace. The actors are also lackluster, as if they are completely acting while acting, which results in a very unconvincing performance.
Additionally, the dubbing in this is just unbearable.
It's really enjoyable! The way they switch between dialects from different regions in Jiangsu, Zhejiang, and Shanghai is really interesting. Suzhou dialect is the softest and most melodious language in the world, isn't it?
Hu Ge has a great presence, and both Mr. Fan and Miss Wang have surpassed their own acting skills. I've learned from watching Ling Zi's money-mindedness. Haha.
I really love the Fujifilm-style cinematography, it's very artistic and nostalgic. Hu Ge looks so handsome, and the Shanghai dialect sounds beautiful. It just goes to show that we shouldn't lose our regional dialects! The story is also very realistic, and I really appreciate seeing this kind of theme in the present day.
I actually bought the book in my first year of high school, but I didn't read it at the time. Now I'm really eager to dig it out and give it a read.
An actor's greatest fortune is to encounter worthy adversaries and directors during their prime. Likewise, a director's greatest fortune is to find actors who can convey their philosophies during a period of abundant creativity.
This is the first time I've been so fond of Director Sunglasses Wang's work.
After eight episodes, I confidently give it a five-star rating. Miss Wang is such a captivating "bump-and-cry expert." She works diligently, lives positively, and her sincerity makes her adorable. Although she sees herself as Cinderella, in the eyes of many, including mine, she will always be Snow White.
Their story began with Clara Schumann's postage stamp.
After watching 8 episodes, style outweighs substance! It has a bit of that taste of Zhang Jiajia's terrible film "The Ferryman." Regardless of the foreground and background, everything is a dazzling array of colorful neon lights.
Each shot has moving foreground and background, and the dialogue is also quite noisy. Every few minutes, that music comes in, and the overall impression is that it's noisy, chaotic, and overwhelming, leaving viewers restless.
The editing seems to be mismatched with the quality of the cinematography, lacking any transition techniques. Usually, it's a sudden cut from one shot to the next without any smoothness.
All the characters feel like they're behind a layer of glass, in a distorted state that prevents empathy. Tang Yan really lacks any acting skills; in the later episodes, she's just shouting, with a high-pitched voice that really gives me a headache.
Xin Zhi Lei, on the other hand, is quite stunning. Maybe it's because she has fewer lines, but finally, there's a character who doesn't talk much. This drama has truly exhausted me.
The content of this drama is well-presented. Although there are three important female characters, their relationships with the male lead are all different. The relationship between Miss Wang and Bao Zong is filled with ambiguous romantic tension.
Ling Zi and Bao Zong's relationship portrays the everyday life of mundane matters. Li Li and Bao Zong's relationship is a mutual admiration despite being evenly matched (although the female character may be slightly weaker at the moment).
Hu Ge's portrayal of Bao Zong is very charismatic. He embodies loyalty, gratitude, courage, and thoughtfulness. Even though he has connections with three women, he doesn't come across as a scoundrel.
I think the current dynamics are great, and it would be better not to force him to marry one of the women in the end. Isn't it wonderful for each of them to shine brightly in their respective fields?
The current relationship dynamics are the best!
I don't understand the mentality of those who give one star ⭐️ and criticize the messy plot, acting pretentious, and claim it's as bad as "The Ferryman." I wonder what kind of dramas you usually watch, your standards must be really high.
This time, it's personally directed by Wang Sunglasses. Just think about it, it can't be that bad. This is a masterpiece at the master level. The first few episodes might be a bit dull, but as long as you keep watching, the later plot is captivating and reaches its peak.
It had nothing to do with the beautiful and intricate world I had imagined. It simply turned into "Rebirth on Wall Street: A Bao." It lost the original work's sense of melancholy and the pitiful undertone of the characters, instead adopting a cheesy and cliché style reminiscent of Korean dramas.
The excessive use of overly exciting background music without clear reason felt out of place. The attempt to incorporate elements from the film into the TV drama was truly awkward and ineffective.
I couldn't stop watching after six episodes, I loved it so much! Wong Kar-wai's cinematography is truly exceptional, and You Ben Chang's acting is superb. In the first episode, A Bao's complex gaze had so many layers. Ma Yi Li is simply the embodiment of Ling Zi.
Hu Ge, please keep up the handsome appearance, A Bao is definitely one of your standout roles! Also, switching to the Shanghainese version after watching one episode felt so authentic!
Keep filming and film more. Even a decaying piece of wood can be carved into something beautiful. How can they make it so good, capturing the essence and story of each character? How did they achieve this? This is truly how you preserve the most beautiful image of female actors.
Don't you want to be a part of Wong Kar-wai's works?
If you have any further requests, feel free to let me know!
It's amazing! Even though it has a male lead, every female character feels so authentic and well-developed. The visuals are as beautiful as a movie, and the pacing is excellent.
The quality is top-notch, a masterpiece of the year! I'm willing to watch it over and over again because it's so beautiful, so captivating, and yet so real!
Damn, it's incredible!
I really don't mean anything bad, but can we please avoid mixing Shanghainese with Mandarin? It sounds so awkward... The plot itself doesn't matter to me, but what kind of dumbed-down roles are Tang Yan and Ma Yili playing...?
Are the other characters, aside from Teacher You Ben Chang, just there to highlight Hu Ge's intelligence???
With a focus on Bao Zong's entrepreneurial journey, the TV drama showcases the charm of Shanghai during the era of reform and opening up. The portrayal of ordinary people is rich, and the emotions are deep.
It takes the foundation of real life and adds an artistic touch, bringing to life the vibrant development of Shanghai at that time.
I really love this tumultuous world. What captivates me has always been people. The vibes of Shanghai, the exportation of goods, the birth of the first stock, Huanghe Road, the ten-mile foreign concession, Suzhou River, the warmth and coldness of human relationships...
Three women became the entirety of A Bao's life.
The editing in this drama is way too frequent. Is it an MV or a PowerPoint presentation? Not to mention the costuming. I thought it was set in the 1920s, not the 90s... Can the music tone it down a bit?
The plot is confusing, and the fragmented storylines aren't suitable for a TV drama.
The story is decent, as I'm not familiar with that era in Shanghai, so I can only see it as a story. Hu Ge performs normally, nothing extraordinary. Ma Yi Li also delivers a normal performance, with some subtle details that shine.
Tang Yan has the worst styling, but she truly captures the spirit and portrays the character with great delicacy. Xin Zhi Lei is quite pretentious; it's the first time I feel she can be called a female bking.
Dong Yong is a skilled actor, and Mr. Fan's character is particularly vivid and dynamic. The scenes between Tang Yan and Hu Ge are captivating, not in a romantic sense, but perhaps due to their chemistry and familiarity.
Sometimes while watching, it feels like glimpses into their daily lives. Both of them have changed over the years, yet they haven't changed at all.
You Ben Chang doesn't seem like he's 90 years old at all.
I wish him good health! Honestly, because of the subject matter, I had no expectations for "Blooming Flowers," but after it premiered, I found it to be quite decent.
From the very first day, I wanted to give it five stars. Not to mention the color tones and music, which I already love, it's a depiction of the real years and environment I've experienced! It's incredibly authentic!
It brings back memories of the first wave of foreign-funded hotels in Shanghai! Even the cutlery feels familiar!
Even if you're a Shanghai local who doesn't frequent the hotel and catering industry, you might not necessarily find it realistic, and that's fine.
But please don't criticize it so easily.
Hong Kong has its own shows like "Glamorous Days" and "Tin Shui Wai," so why don't we complain about those not being a true representation of Hong Kong?
How close were Shanghai and Hong Kong in the 90s? Many executives from foreign and Hong Kong companies, how many of them liked to spend money on Zhapu Road and Huanghe Road? (When I watched the trailer, I thought Wong Kar-wai must have gone there often) Let's talk about the Blue Ribbon JJ era and the Disco Qian Gui!
It was much more vibrant back then compared to now!
Most viewers enjoy something down-to-earth, but there are also people who can't stand it! Is it a crime to have visually stunning scenes? Moreover, those scenes did indeed happen in the past!
The narrative has a resemblance to American dramas, and that's the rhythm I enjoy! Don't think that things you don't know about don't exist. Don't think that your surroundings are the entire world.
Acknowledge the objective reality. Is it so difficult?
Thank you, Director Wong, for creating this feast for us.
After watching eight episodes, there's no need to praise Wong's technical expertise. The storyline is also quite good, although it has no relation to the original work. These two episodes have laid many hidden threads, so the upcoming episodes should be even more exciting.
Ye Shu's voice dubbing has that old Hong Kong film flavor, which is nice. Hu Ge and Ye Shu's taste in suits exudes an old-money vibe, making it one of the best-dressed dramas in the land, aside from the gangster genre. It's evident that the director favors Xin Zhi Lei, as her scenes are beautifully shot, showcasing all her strengths.
However, with so many big-name actors, the character that has left the deepest impression so far is surprisingly Boss Fan (范老板), haha, "Annie"...! Dong Yong's portrayal in this style is also well done. The performance of other characters is average at the moment.
When I watched the trailer before, I didn't have high expectations for it. I just thought it would be absolutely beautiful. But starting from the third episode, I felt it grabbed me, with such a fast pace that I wanted to finish it all at once.
I even Googled A Bao's ending, fearing that this deeply loyal and sentimental character would have an unfortunate fate. Director Wong Kar-wai truly captured the distinctive characteristics of each character, and what's even more important is how beautifully it was filmed.
Every time Boss Bao appears at the Huanghe Road Restaurant, something tense and significant happens. It's been a long time since I've encountered such a captivating TV drama.