Blossoms Shanghai Reviews

It seems to cater to the market, but from another perspective, it feels light and enjoyable, provided that one is drawn to the backdrop of the 1990s and the characters.

Seeing the portrayal of adults I knew in my childhood, the social reflections, and the stories of the older generation.
It feels as if that society has drifted far away, belonging to the last century (which it actually does). There's a mix of envy, jealousy, disdain, and admiration for the people caught in the waves of that era, which I have never experienced but strangely feel connected to.

The book must be interesting. It's great to see this kind of thematic material being adapted into a TV series, and there's plenty of content to enjoy.

The cinematography is impressive, capturing moments that don't leave actors dissatisfied. The splendid and vibrant shots, the repetitive and unnecessary ones, manage to avoid becoming tiresome.

The characters are also well-portrayed. From the cautious and somewhat aloof Mr. Fan to the lively Ma Yi Li, there's a subtle and touching friendship amidst the web of monetary transactions.
It's not overly emphasized, but it does evoke some emotions.

However, the portrayal of business competition feels too childish. The attempt to create a mysterious atmosphere in the context of corporate battles falls flat.
Judging from the transformation of Mr. Fan and the ensemble cast, it seems like they intend to depict the entire process of change. Despite being the main storyline, the business aspect fails to grip the audience, which is truly disastrous.

While visually appealing shots may be enough for a movie, who would watch a long-running drama solely for its aesthetics?

Perhaps I'll give it another chance when I have free time.
But if it weren't for Ma Yi Li, I wouldn't have any desire to continue watching at all.

1. In a recent episode of "Zhāng Qiāng Sān Rén Xíng," Dou Wentao (possibly incorrect memory) commented on Wong Kar-wai. The gist was that Wong tends to start with seemingly unrelated content, which gradually converges from various directions towards a central theme that he actually wants to convey.
Wong excels in the use of audio-visual language, with precise and intricate storytelling that leaves no room for superfluous details. In "In the Mood for Love," he reached the pinnacle of mastery. Returning to "Blossoms," the composition appears complex with numerous foreground shots, but the visuals themselves offer minimal narrative.
It seems like beautifully staged shots with actors and cinematography frantically searching for the perfect frame. Indeed, visual storytelling is the dividing line between films and TV dramas, and as a TV drama, this production's cinematography is commendable.

2. What truly becomes unbearable is that there are hardly any actors with strong dialogue skills. Hu Ge, who speaks Mandarin, sounds like a voice-over for online literature.

3. It is rumored that the drama and the film were shot simultaneously, and it's doubtful that Wang, as the executive director, was deeply involved in the TV drama's production.
I'm eagerly anticipating the film's release, as it promises to be quite magical and captivating, featuring the 810 incident and the A-share market without the China Securities Regulatory Commission.

Alone on the attic, preferably at night. In the ending scene of "Days of Being Wild," Tony Leung rides a horse, searching for another horse. The hero, in the dim light, counts banknotes underneath an electric lamp, carefully counting a stack before tucking it into his suit pocket, then counting another stack.
He takes out a deck of playing cards, opens it, examines it closely, and retrieves another deck. Afterward, he combs his hair, creating a side part, meticulously grooming himself in front of the mirror, his whole body poised and elegant, exuding a subtle arrogance.
Finally, he switches off the light. From despair to triumph, these half a minute encapsulates the essence of Shanghai.

This is the first line spoken by Jin Yucheng in the original novel. In Jin Yucheng's eyes, that era was refined.

In "The Awakening Age," Gu Hongming discusses the spirit of the Chinese people, emphasizing the unique gentleness that the Chinese possess but foreigners don't.
This gentleness is embodied by A Bao, represented through silence. The concept of silence implies not speaking up. Not speaking up may seem like having no attitude, but in reality, silence is a form of attitude.

Watched eight episodes. I dare not comment on the plot (afraid of getting torn apart), but the dazzling and authentic setting is spot on, especially the neon lights with a touch of Nevada style.
Let me share my personal touch: Glasseswang's handling of the OST exceeded my expectations by a hundredfold. It made me even doubt if it was his work. The seamless transition from nostalgia-inducing hit songs to the "Battle of Inheritance" instantly immerses the audience in the ten-billion-dollar business war.
It's like a fresh move that captivates everyone. Whether you're willing to do the work or just die, you won't even get a bite of a warm meal. The whole eight episodes were seamlessly crafted with fragmented montage techniques, reminiscent of the Shallow Grass Boy battling the Three Heroes.
It's a bit hazy and buzzing in my mind. Undoubtedly, it's a massive overturning of my viewing habits, demanding a great deal of intellectual comprehension.

In the beginning, I was intrigued by the regional dialect story and stumbled upon the "Gangtang" online community. Back then, Jin Yucheng was just "Attic Ye Shu" casually chatting on the forum.
Two years later, "Fanhua" came to life, and I bought two first-edition books—one for a friend and one for myself. Two more years passed, and it won the Mao Dun Literature Prize, which was not surprising at all.
It's an exceptionally well-crafted regional literature, and I've always been looking forward to its adaptation into film or television. I also really like the cast of this drama. However, the plot adaptation has deviated so far from the essence of the novel that it has become extremely vulgar.
No wonder it has been mocked as "Tiny Times 5." Starting from "The Grandmaster," Wong Kar-wai has repeatedly proven that talent is indeed a consumable. Once it's exhausted, it's truly gone.
No amount of squeezing can bring it back.

TV dramas can actually have frame drops too. Wong Kar-wai, you've gone too far... I hate it. This is the first time I hate being from the Wu-speaking region. Honestly, Shanghainese doesn't give me any filter, instead, it makes me nitpick everyone's pronunciation.
Tang Yan is better than before, but still sounds forced when speaking Shanghainese. Some lines are a bit "Yangjingbang" (foreigner in Shanghai dialect). Mr. Fan, his character is supposed to be from Hangzhou (?
), but our Zhejiang accent isn't like that, some lines are accurate, but some just leave me speechless. Ma Yi Li (and a few other minor characters) speak Shanghainese more naturally. After contemplating for many years, I finally get to see Huang Ling (even though her acting feels forced) play a flirtatious Shanghai woman!
By the third episode, I'm still more interested in the supporting cast, completely uninterested in the male lead, Mr. Bao. In conclusion, among the mediocre domestic entertainment TV dramas, this drama stands out, but it has nothing to do with the original book.
After watching three episodes, I'm out.

Is there anything else you'd like me to assist you with?

From the third episode onwards, the drama has been gradually improving. The storylines converge, the style finds its footing, and the integration of genre elements structures the entire drama beautifully, creating a subtle and marvelous chemical reaction.
Wong Kar-wai understands television dramas, and he can embed his authorial essence into the structure and framework of the series while making appropriate choices. The intoxicating visual effects and the disjointed temporal editing are quintessentially Wong Kar-wai, which sets it apart from Jin Yucheng's original work.
The two share the commonality of presenting a specific group of people from an absolute outsider's perspective. The choice of music is indeed lacking, not just subpar but outright terrible. If only the soundtrack could match the quality of "Succession," it might elevate the overall experience to another level.

I've watched ten episodes. The good aspect is that the director put a lot of effort into it. Even the supporting characters, when they are fixed in the audience's view, are filmed according to the standards of an art photograph.
The characterizations of even the supporting roles are very well-developed. The slightly lacking aspect is that the essence of the script is still an escapist drama, even if it's dressed up in magnificent attire, it can't hide that fact.
If the later episodes continue to repeat this pattern of "hidden experts" helping with "leveling up by defeating monsters," it will lose its appeal.

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