外媒看中国:《一步之遥》用力过猛_BEC初级作文

外媒看中国:《一步之遥》用力过猛

But a mish-mash of references a masterpiece does not make. Unlike his brilliantly barbed, sensitively structured and meticulously multi-layered 2010 hit Let the Bullets Fly, Gone With The Bullets - described as the second installment of a trilogy of gun-slinging satires set in tumultuous, 1920s China - is a sprawling, episodic spectacle reading less like a j'accuse of social malaise, and more like a record of a self-styled auteur's ego going completely into overdrive, as he indulges in shaping his lead character (played by himself) as a misunderstood and victimized idealist, while unleashing a torrent of supposedly clever bites at the hands who feed him.

但是这部致敬杰作的混合物没有任何意义。不像他才华横溢的佳作《让子弹飞》（2010年）里绝妙的讽刺，敏感的结构和一丝不苟的多层次构架，《一步之遥》——作为其子弹三部曲的第二部——用吵吵闹闹喧嚣不堪构起一部讽刺诗集，20世纪20年代的中国——笨拙的前行，插话式的场景看起来不太像是社会疾病的抨击，更像是自封为电影导演的自负到彻底失控的一次记录，因为他沉浸于塑造他的主角（他自己饰演）成为一个被误解的，受到伤害的理想主义者，他用释放才华激流的方式在饲养他的这群人手上狠狠咬上了一口。

And the hands have seemingly bitten back, as Jiang has finally gone one step too far with his misanthropy, a trait which used to amuse with his more skilful portrayal as the masses as self-seeking and unwashed in his previous outings like the second-world-war drama Devils on the Doorstep and Let the Bullets Fly.