Most people who hate the new version cite the fact that it is different from the 1987 TV series, which is constantly on air and has become something of a classic in itself. For me, the value of an adaptation should be measured against the original, if anything, not with another adaptation. An artist has the right to interpret a classic based on his or her own understanding. You may not like it, but you cannot deny him or her that right.
When Laurence Olivier made Hamlet in 1948, it was hailed as a masterpiece on screen. But that did not mean latecomers could not film their own versions. While it is hard to say Kenneth Branagh's version in 1996 or Franco Zeffirelli's, starring Mel Gibson and Glen Close, among dozens of remakes, is better, each has its own strengths - and, of course, weaknesses. Each artist and each era can bring something fresh to an old chestnut. If an adaptation is so awful it does not have any merit, it will wither by the roadside and never have a chance of dimming the glory of the original book.
Li Shaohong, director of the current series, is a serious filmmaker with a feminine touch. She is the first one to put "dream" into A Dream of Red Mansions. The eerie music and the uneven pacing of sequences are subtle hints of the nature of the story. She also restores the framework of the mammoth work that actually constitutes its philosophical and religious underpinnings. In most other versions, the prelude with a Buddhist and a Taoist monk is discarded as superstition.
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