Blossoms Shanghai Reviews

The business battles in this drama become more thrilling as it progresses. If we say that Bao Zong's luck played a part in the first two business competitions, then the Huanghe Road defense relied entirely on Bao Zong's ingenious strategies and extensive knowledge.
I'm increasingly looking forward to the upcoming plot.

The Shanghai version of "Da Jiang Da He" has little to do with the original story. Apart from Xin Zhi Lei, the entire cast delivers theatrical and exaggerated performances. If the male actors are trying to capture a certain style, then the female actors come off as annoying and noisy.
The narration, lighting, camera angles, and editing all feel deliberate. If the technical aspects don't serve the storyline, it would be better to simplify and focus on the essence. The average age of the actors is 40+, and the sense of the era is truly palpable.

The plot is intriguing with its focus on business competition, and the cinematography is impressive. Overall, it's quite different from Wang Kar-wai's previous works (for those who are unfamiliar with Wang Kar-wai's style, they probably gave up watching before even finishing the first episode).
However, I find the soundtrack hard to appreciate, and some of the character developments are overly exaggerated. I'll give it three stars for now and observe further.

It's not bad. After watching four episodes, I realized it's a story about big shots and business battles in the Shanghai Bund. The set design in the series matches the title quite well, but it can be overwhelming for viewers. The visuals and factory scenes are mind-boggling.
I'll keep observing for a while! However, the characters in the show have a strong sense of ambition. The actors are quite handsome! No wonder they enjoy collaborating with Wang, the "Sunglasses King," to make people look cool and attractive!

Firstly, in terms of artistry, the exceptional ability to balance and showcase the complexity of vivid colors is truly remarkable. As for the storytelling, the ability to interpret a socialist version of "Billions" within the confines of censorship is quite a test of skill.
Wong Kar-wai's love for Shanghai stories is evident. It's one of the recent works that is worth watching.

The style is indeed very "Director Wang" (referring to a specific director's style). Ji Gong (a character) is still full of vitality. Shanghai people are really wealthy.
How could a taxi driver have 20 million to invest in stocks? It was 1992, and university students were only making a couple hundred yuan in monthly wages.

Endurance, watching one and a half episodes, is already my last bit of tenderness towards Mo Jingwang. The plot and setting are completely unrealistic, and Hu Ge's acting seems to be stuck in that suspended feeling from the "Chinese Paladin" era.
I don't have anything else to say. I wish this drama success.

President Bao strategizes behind the scenes, President Bao remains calm and composed, President Bao has the victory in his grasp. President Bao exudes an innate confidence, as if he was born to achieve great things and inherit a wealthy legacy, with an air of assurance.
He works on his career while riding the waves of the era, all the while effortlessly displaying his charming and elegant demeanor. There's no struggle from rags to riches here; it's as if he has a cheat code, having unparalleled confidence as if he has read the script in advance.

I really enjoy period dramas centered around business and competition. In the era of rapid changes, those who can accurately grasp the future trends will become wealthy, while others will be left with nothing.
Mr. Bao has Ye Shu to help him navigate the winds of change, allowing him to prosper and accumulate wealth. On the other hand, those who are consumed by desire and refuse to listen to advice end up losing everything.

It's a delight to savor. Unfortunately, my limited language skills cannot fully capture the experience of watching the show. Nonetheless, Wong Kar-wai remains the unique and irreplaceable filmmaker that he is.
Suits, fur coats, stocks, and money—this time, it's the authentic taste of Shanghai.

Xin Zhi Lei is truly a stunning Hong Kong-style beauty. Ling Zi and Miss Wang are always chattering away, but that's just how it is with Shanghai dialect, I don't understand it. Ye Shu is an experienced old hand in the industry. After watching a few episodes, it's clear that succeeding in business isn't easy at all.
It's not something that just anyone can do.

Achieving fame and success can lead to higher expectations, but it can also bring about a lot of tolerance. Interestingly, the noisy plot, disjointed soundtrack, and the male lead's particularly frivolous performance have somehow created a stereotypically "real" Shanghai.
In that case, I guess it deserves a three-star rating.

So far, after six episodes, everything is just spot on! Apart from the storyline, the authenticity of old Shanghai alone is enough to keep me hooked. /// I have to say, this time Hu Ge has pleasantly surprised me. I always felt he was overhyped, but his portrayal of A Bao with that unique singing style, it's like a nostalgic blast from the past!

I'm a bit confused. Is "Blooming Flowers" a subversion of the "Refined Wong Kar-wai Brand" by the "Everyday Wong Kar-wai," or is it more like a licensed adaptation of the "Refined Wong Kar-wai Brand"?
If the "Refined Wong Kar-wai Brand" has been your long-awaited trailer in your mind, then encountering the "Everyday Blooming Flowers" might make you feel deceived, and it could leave you feeling uncertain about the brand's integrity!

Perhaps times have changed, and I find it hard to understand Wong Kar-wai's style now. The visuals have a touch of animated realism, and the storyline might be comprehensible only to those familiar with Shanghai. Unfortunately, I am not fortunate enough to fully appreciate it.
I'll give it an extra star as a tribute to that era.

I was surprised by Li Li feeding false information to President Bao. It just goes to show that in the business world, there are no permanent friends or enemies. One provides false information, while the other creates a gimmick that can't last more than three months to attract customers for Zhi Zhen Garden.
Both of them know how to do business?

It was quite nostalgic to see Miss Wang reminiscing about the time she used to tear postage stamps at the door. It turns out that the now glamorous Miss Wang also worked her way up from being an ordinary person.
Perhaps it was tough and tiring back then, but every step taken in life counts.

I still prefer Mandarin; the excessive use of Shanghainese in the entire series became unbearable to me. It felt too pretentious, with an excessive and lengthy display of pretentiousness.

There's too little plot, and it seems like a group of people is just revolving around one person. The supporting characters lack a sense of individual lives.
It seems that Wong Kar-wai is better suited for making movies.

In the opening of the first episode, there's a stylish display of Hu Ge, with his straight trousers and slicked-back hair, complemented by the luxurious suite in a super grand hotel. The story unfolds with an intriguing charm. "Fanhua" is a magnificent and dangerously alluring tale, yet it retains a sense of human warmth.
Like a delicate, non-toxic apple, wherever they stand, that becomes the most tumultuous place in Shanghai.

Among the three female leads, the one that captivates me the most is Li Li. She is one of the most mysterious characters so far. The eye contact between her and A Bao gives me a sense of a destined fate between them.
A woman who can conquer the Golden Phoenix is truly formidable. I'm looking forward to the revelation of her background story...

Satirical comedy. The Miss Wang storyline portrays the collusion between officials and businessmen, the Ling Zi storyline depicts the parasitic behavior of materialistic individuals, and the Li Li storyline showcases internal and external struggles.
Long Aotian, also known as A Bao, is a beloved character who is adored by everyone and unstoppable like a force of nature. Tasteless when consumed, easily discarded when abandoned.

Highlights: Radio calisthenics and street stalls at the entrance; Officials forcing the people to rebel, and the people pressuring officials to comply.

You speak Suzhou dialect, I speak Ningbo dialect, Shanghai is a port, not an imperial city. Shanghai is the driving force of the people. In the 1990s, as the era shifted, Shanghai embraced opportunities in the stock market, foreign trade, and restaurants.
That was the era...

The original work depicted the fragmented lives of ordinary Shanghai citizens, with no grand narrative. However, in the drama, there are excessive descriptions of romance, an overly greasy male protagonist, and excessively noisy scenes that give me a headache.
Some people insist on over-interpreting it with political metaphors, which gives me an even bigger headache. If one wants to watch the A-share market and experience the 1990s, wouldn't "The Great Era" be a much better choice than this?

Cons: Hu Ge is too greasy and pretentious; exaggerated visuals, high saturation, various camera movements, and prolonged frame skipping in the TV drama might make viewers feel dizzy, especially for those who like to binge-watch shows in one go; some scenes are really noisy; and the dialogue can be inexplicably melodramatic at times.

Pros: I love watching it, and I can tolerate these flaws.

Fanhua" is a novel based on huaben, while Wong Kar-wai is a stylized director. It's hard to imagine that the combination of the two would result in something good.

(Just take a look at Wong Kar-wai's previous films.
Which one had dense dialogue? This failure is similar to when Guan Jinpeng directed "Chang Hen Ge" back then, it's on a different frequency.)

Ye Shu's words in the first episode, "style, gimmick, momentum," are fully embodied in every business battle in the bustling setting. In the Three Sheep brand's business war, Fei Xiang is the gimmick, while in Boss Bao's Yellow River Road defense battle, the gimmick is the three signature dishes.
Ye Shu's famous quotes are timeless and always relevant.

Why is Wong Kar-wai so lazy in filmmaking nowadays? Is this his understanding of contemporary Shanghai? Throughout the entire film, regardless of outdoor or indoor scenes, regardless of the economic and social status of the settings, he uses a unified template of gold and diamond embellishments and high-key backlighting.
Before "The Ferryman," he didn't make films like this. What has happened in the past 10 years?

Because it's Wong Kar-wai, the expectations were indeed very high. I managed to find time to watch a few episodes, and the visuals are beautiful, the lighting is exceptional. The first few lines spoken by Ye Shu in the first episode really piqued my curiosity and expectations for this adaptation.

Do you understand the current situation? Have you studied the current policies? What money can be made, what money should not be made, and what will get you into legal trouble.

But after watching a few episodes, my feelings are just so-so...

Absolutely captivating! "Peace Hotel," Western-style suits, The Bund, paper drunk in the dazzling lights, the allure of extravagance and debauchery. The Shanghai dialect sets the atmosphere, and various characters from the world of fame and fortune make their grand entrance.
It's a tense and thrilling game of cat and mouse, with hidden agendas and intense human interactions. The real highlight is the cosmic explosion of the storyline! It's a fast-paced era, packed with a wealth of information, and truly mind-boggling!

The depiction of love within the business warfare storyline is absolutely captivating. The celebratory banquet where success and fame reign supreme, and Mr. Bao takes Miss Wang and runs away, it feels like a return to the essence of "A Bao" and "Wang Mingzhu." The emotions outside of the business realm are exceptionally genuine and touching.

If you have any more requests, feel free to let me know!

As a newcomer to Shanghai, I watched the Shanghainese version of the drama, and the actors were not good at all. Gradually, I understood Director Wang's intentions! Some people criticize the lack of realism, but this is art, not a documentary.
It's visually pleasing and worth recommending for a delightful feast for the eyes!

Of course, I support TV dramas in Shanghai dialect. The director did a good job, and the adaptation of the content is also well done. However, if the director had filmed it 20 years earlier and if my brother hadn't jumped off the building, having my brother play Mr.
Bao would have added an even better flavor!

It is the divine hammer from the renowned Hong Kong-Shanghai mixed-blood director Wong Kar-wai, striking against the dominance of the northern dialect in mainland Chinese TV dramas. Regardless of whether this divine hammer has fallen or not, whether it's the floating background or the indulgence of the "Godfather" of mainland male actors (meaning that these are more or less true), the Wu dialect region, hidden behind the "free shipping" label, has finally unveiled a glimpse of real life.
Now, let's see how far the ripples of this hammer can spread.

I couldn't continue watching after half an episode. Apart from the narration, which has a hint of Wong Kar-wai's style, everything else feels off. After all, without the acting finesse of Tony Leung and Maggie Cheung, it lacks the quality of a TV drama.
But this final product doesn't capture the feeling of Wong Kar-wai either.

Not bad, but not good either, definitely not Wong Kar-wai. It's not good enough, but not that bad, to be precise, it's not bad. But I suggest that Wong Kar-wai shouldn't do this kind of thing anymore, shouldn't make this kind of TV drama.
Even if he never makes movies again, he shouldn't make this kind of thing.

Alright, I admit it's not as good as expected, but it's also not as bad as some say. Building up a character only to tear them down is a plotline we love to watch. "Blooming Flowers" had effort put into it, although perhaps not as much depth as "The Grandmaster." However, there's no excuse for the opening theme resembling "Succession." Chen Xunqi's standard shouldn't have been like that.
Maybe my expectations were too high, but I'm still looking forward to the movie.

The cinematography in "Eyeglass King" is truly beautiful when it's at its best. However, it feels a bit mismatched with the TV drama format, especially when it comes to the way characters are filmed while speaking, with only half their faces or from other angles.
It's different from what we typically see in TV dramas, and I'm not sure if it's a good or bad thing. Nevertheless, it's a coincidence that several of the actors are ones I like, so I think I'll still watch it till the end.

After watching two episodes, I can confirm that besides the character names, it's barely related to the original work. It feels like a stock market version of "The Grandmaster," mixed with the enigmatic atmosphere of "2046." This Shanghai is also a reimagined and blended version of the old and new, with stage-like lighting that tells you everything is a performance.
Whether you like it or not, you have to admit that it's unique.