呵呵，我是超不喜欢小章的，不过对于巩俐阿姨，我也不感兴趣，虽然她的演技确实不错

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引用第10楼bodyliu于2007-01-04 09:39发表的“”:
呵呵，我是超不喜欢小章的，不过对于巩俐阿姨，我也感兴趣，虽然她的演技确实不错

你这句话是不是有小小颠倒……

Quote:

引用第11楼咚咚妈咪于2007-01-04 11:05发表的“”:

你这句话是不是有小小颠倒……

呵呵，是对巩俐阿姨不感兴趣

感兴趣的人可以看一下在国外的中国人以及老外是怎样评黄金甲的。以下转自IMDB，著名的电影评论网站。总体而言，有人贬更多人则是褒。 Bodyliu，我已经过滤了我认为敏感的信息，如果你觉得其中还有敏感信息，那就删掉。不过，看看人家的英文也挺过瘾的，可比我的英文好多了。

by vincent-liu   (Fri Dec 29 2006 18:05:28 ) [第一贴贬，随后引来骂声一片]


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I have to say, Zhang yi mou is dying, his talent is limited and he is destroying Chinese movies.

This movie is based on a drama--The Thunder storm by Cao yu, what a great story, this Cao yu's work is one of the best literature in 20th century China, if you are a foreigner and moved by the story plz spend some time to read the original novel. what you see on the screen is only colors, lots lots of colors, with showy, superficial fighting scenes, and absurd dresses,oh, I should mention, girls did not squeeze their boobs out at that time, they were sexy,but not slutty. Zhang yi mou was a peasant, so he has not talent to shoot a WU XIA movie.

When the whole movie world is celebrating the liberation of freedom, human rights, salvation of human spirit, Zhang yi mou is still working on how to praise the power of emperor, to present the darkness of human mind(in a silly way). Unfortunately, lots of Chinese they enjoy it very much, how pathetic.

by street-lighter   (Fri Dec 29 2006 18:19:45 ) [第二贴声援]

UPDATED Fri Dec 29 2006 18:35:24

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I do agree. Cao Yu's Thunderstorm was a good story, but Zhang Yimou turned it into some big budget merry-go-round. Even though it wasn't actually wuxia, for some reason Zhang tried to put some over-the-top action scenes in it anyway.

中间略掉两贴，太敏感。

by vincent-liu   (Fri Dec 29 2006 22:21:40 ) 楼主出来为自己辩白。


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maybe I was over reacted at the begining, that's because I read the one of the review in the first page, which wrote by a Chinese---Two thumbs up.

I do think there are something you do not understand about recent China. Zhang yimou is the most powerful figure in Chinese film industry, in China(main land) he is more popular than Li an, who is the best Chinese direct at recent time. what he believes, what he wants become the "main melody" themes in the whole industry, even his thoughts are absolutely critical,as while there are a few young talented directors who are doing great jobs.

My point is, there are numerous great stories like Brave Heart in China, but he never pay attention on them, he just fakes some silly stories (or rework), put lots, lots, lots,lots,lots of colors(maybe he should become a painter), with the best costumes, expensive sets and props to make unlogical movies. movie like Hero, it is hard to say he shoot it without caring communists' feelings.

From a foreigner's sight, this movie maybe interesting, but they do not know there are lots of mistakes about costumes, props, background, I am not very picky, but these mistakes are totally silly and stupid. I think he made these mistakes in purpose, because he knows what would cheer foreigner up, especially American.in other words, if a French movie presents a 17th century story with Napoleon period costume,what feel would French have?

by choiboy888   (Fri Dec 29 2006 23:17:56 ) [这个是中国人开始反驳楼主]
UPDATED Fri Dec 29 2006 23:21:35

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You're analysis has missed the point of the movie.

I haven't read Cao Yu's Thunderstorm (I'm sure it's a great work), but like other movies, it didn't have to follow the work strictly. Like Lord of the Rings, it was successful though straying from the books in many ways. In contrast Eragon (gimme my money back!), which bombed and strayed from the book. So critique the story for what it is and not of its roots.

I believe Zhang Yimou did not wish to create an accurate portrayal of the Later Tang dynasty, but rather create excitement and interest in the audience about ancient China. I agree he went overboard with the glowing environment and skimpy attire, but this was to ensure that the audience would be interested throughout because this was more drama than martial art action. This kind of tactic would draw in a larger audience from the populace, thus increasing awareness about ancient China not widely known in the Western World (unfortunately :P). It may be incorrect in ways, but it is also correct in ways. To accept information without research is to act on ignorance and face it, the majority are ignorant about the past. You are SO picky when you acknowledge the things you don't like. And refering to your French example... You have a point. But you should know that French attire from era to era is much more clear-cut than Chinese attire. Reason being that Chinese culture spans a greater time with less clear-cut styles with the exception of the braid from Ming to Qing.

The accuracy of the portrayal may be wrong in many ways, but he makes up for it in the presentation of the story which is rich in messages and themes. In a male-dominant society, the oppressed female voice is rarely heard. Don't you think he was accurate in showing how in ancient China, women would fail to succeed in a chauvinistic environment? Could this have never happend? Pretty much all Empresses and concubines of the past were doormats except for Wu Zetian (who still posed as one until Emperor's death). But the doormat story is NEVER heard of. Usually you hear about an Emperor's triumphs, his sons, his losses, his description. The Empress' name is sometimes unknown and described as nice. So really this movie was great in shedding light onto a very undone subject.

As well, there are many stories a director could do. He is popular, so he must do popular stories?

For the record, I'm Chinese and no I'm not ashamed that I liked it...

by RTprod   4 days ago (Wed Jan 3 2007 22:33:07 ) [这个不知什么人]


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Agree completely. It's a masterpiece pure and simple, a visual tone poem and one of the best looking movies ever made, with passion in every single performance and with Gong Li performing with unusual ferocity.

"The huge sadness of the northern plains rolled down on him..."

by WatermelonX   (Fri Dec 29 2006 19:50:50 ) Ignore this User | Report Abuse


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Come on guys, it's a frickin MOVIE. No one's dumb enough to think that with this movie that is what the Chinese empire really like.

by hkpop   (Sun Dec 31 2006 09:40:16 ) Ignore this User | Report Abuse


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I am a Chinese too, but I liked it. The movie is like a grand opera, while every element in this movie seems over the top, the result is unexpectedly harmony. The movie is in line with Zhang's latest opera works on stage.

by tsesung   (Sun Dec 31 2006 12:52:08 ) Ignore this User | Report Abuse


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This thread raises a lot of interesting points and I'm glad people are as interested in them as I am. I wonder too why Zhang would make a movie about a repressive regime that's able to quash a rebellion, even humiliate its leaders? In his Hero, and in another great movie about the First Emperor Qin, Qin Song, the individual spirit is subjugated to the tyrannical emperor for the supposed greater good of unity and pacification.

In the same way, movies like his Raise the Red Lantern and Jiu Dou are great movies that tell terrible stories of personal tyranny against women.

Yet in contrast he did make films like The Story of Qu Jiu and Not One Less. Both are stories about the triumph of the individual in crushing poverty or a huge bureaucracy. And his To Live was a fabulous depiction of survival during great, almost incomprehensible political upheaval. These certainly celebrate the will to live, the salvation of the human spirit as you mention, and are all great, reform-minded Chinese films.

I wonder tho' if there is not a Chinese tradition that favors what may border on tyranny over chaos. And maybe Zhang is trying to point that out, to provoke the new giant middle class of Chinese to reflect on this. Is it better to have an authoritarian or even totalitarian state that can surpass even the ties of family? I ask the same question- why does Zhang tell a depressing story of the insurmountability of tyranny? Or, is he being cynical, thinking this is the only way to bring an epic past Chinese censors?

by hkpop   (Mon Jan 1 2007 12:01:53 ) Ignore this User | Report Abuse

UPDATED Mon Jan 1 2007 12:03:05

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Geez, it is just a movie meant for entertainment. What are you people thinking about? Why every movie made in China has to be associated with politics? Please don't judge everything using your narrow-minded idealology.

The director adopted the most famous Chinese stage show The thunderstorm to make this movie. So, you think Chinese government has been praising the stage show for decades to slap its own face?


by tsesung   6 days ago (Tue Jan 2 2007 09:36:36 ) Ignore this User | Report Abuse

UPDATED Tue Jan 2 2007 11:16:58

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Well, most of the time movies have little to do with politics, which doesn't explain why his momumental To Live was banned in China, now does it?

Most movies are just for entertainment, but perhaps you've forgotten that the opening salvo of the Cultural Revolution was a critique of a play that appeared in a newspaper.

In many ways China has modernized beyond recognition in less than a generation, but to think that the dynastic power plays have gone for good is to underestimate the power of thousands of years of history.

As for a movie that's entertaining, what's entertaining about seeing a rebellion against a dictator brutally crushed? There is of course valor and bravery even in defeat- but why did the Empress ensure defeat by letting the crown prince warn the Emperor? Indeed, the only character of any humanity in the film is humiliated- the only way one can have any sympathy for the Emperor (whom Chow Yun fat does incredibly well), is if one believes that stability, if that includes poisoning his wife for no known reason, must always prevail. And what happens to this emperor in the end? None of this is explained well.

Otherwise, it's a spectacle. Another poster's comparison to Cirque du Soleil is perhaps apt. But one expects more from Zhang Yimou.

by earthboar   (Mon Jan 1 2007 14:13:16 ) Ignore this User | Report Abuse


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The story was great, and it was not as bad as our criticisms might suggest. We become so hyper-critical only because Chinese films are coming of age, and really good, for the most part. The story line was excellent, I thought. The more film making advances, the more attention it gets in the form of criticism, take it with a grain of salt. I love these wu shu films, they combine story, character, color, and breathtaking cinematography--Pretty sophisticated.


Meat: Don't eat it; don't be it!

by euphoryajc   6 days ago (Mon Jan 1 2007 23:06:10 ) Ignore this User | Report Abuse


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lol, I think the movie captured the essence of the stage play pretty well. The stage play was significant because it was written in a period of oppression and it exposed the hypocrisy of feudal family system, and other things. Nowdays, the problems the stage play showed don't seem so acute, especially to non-Chinese.

The last couple of scenes of the movie are particularly powerful, with them watching down the blood and make it look like nothing happened.

by savethemusicyall   4 days ago (Wed Jan 3 2007 23:14:51 ) Ignore this User | Report Abuse


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this is a film, it's a form creative art. if u r gonna take it up the ass and look for historical accuracy, go watch a dam documentary. in an artistic perspective, this is a well done movie, and just in case there r anybody who thinks i have no idea what i'm talkin about, i've been a professional artist half of my life already and i'm a chinese (not that being chinese have anything to do with this)


by raktratt   4 days ago (Thu Jan 4 2007 09:38:05 ) Ignore this User | Report Abuse

It's really too bad so many persons gave you the benefit of the doubt with your thread WHINING about the Wuxia style. For myself, it was obviously the ranting of a hater. And now this latest missile confirms it.

I'm still wondering why you and others, such as "street-lighter" (formerly Streetlighter") even bother to post here. To annoy people? Or to delight fellow haters with even more shallow observations than they would ever dare make?

by laszloharacsi   4 days ago (Thu Jan 4 2007 09:36:39 ) Ignore this User | Report Abuse


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I haven't seen the movie but I must say that you pissed me off when I read your comment.

"When the whole movie world is celebrating the liberation of freedom, human rights, salvation of human spirit, Zhang yi mou is still working on how to praise the power of emperor, to present the darkness of human mind(in a silly way)"

I'm from a former communist country (Hungary) and I would feel shame if I wrote this. I would understand you if Yimou had praised the emperor himself. But as I
heard he is portrayed in the movie more as a mad man. Yimou would never praise
the "power of the emperor".


by william_tao45   3 days ago (Thu Jan 4 2007 16:47:56 ) Ignore this User | Report Abuse


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I think we should not take a movie so seriously, I am a Chinese too. The problem I found most Chinese (us) have is that we take our pride and culture to seriously, I mean, patriotism is one thing, but being so rigid about our culture maybe a bit over-board. This is just a movie for entertainment, and for entertainment it is a fine piece of production, people enjoy it, and they learn more about Chinese culture, what's wrong with that? I know the original poster feels that the movie goers may be exposed to the false version of Chinese history and culture, but who really care? I doubt many would be interested to see a movie with boring but factual Chinese culture and history.

Yimou did a great job by attracting and appealing masses to the Chinese history and cultures, maybe his work is a bit wrong from the eyes of a Chinese, but I'd rather stay away from the Chinese Stereotypes.


by jknil02   3 days ago (Thu Jan 4 2007 23:49:46 ) Ignore this User | Report Abuse

I'm chinese too and I feel, actually, it is good for him to show movies like that, to remind people what dictatorship is like, and how they should never allow such things to happen to their country.

And fact of the matter is, having a Emperor on the throne is dictatorship.

It also shows how dictatorship can be abused. People needs reminder like that. All things that could go wrong to give so much power to one human being.

Also in the olden chinese days, Emperor's are rarely the good guys, in a way, it is more realistic to show about how difficult it is to overthrow an Emperor in olden days.

I love how he portrayed how wealthy the imperial family is. All that money spent on such luxurious expensive clothings and goldifying their palace. While gawd knows, his people, the poor peasants are working to their death, trying to pay taxes to maintain these royalty lifestyle. It really shows why Monarchy system is crappy.

I guess everyone interprates it differently, but I definitely did not interprate it as praising a tyrant emperor.

by hjeffords   2 days ago (Sat Jan 6 2007 13:53:06 ) Ignore this User | Report Abuse


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"Zhang yi mou was a peasant, so he has not talent to shoot a WU XIA movie."

I lost all respect for you and your opinion when you said this. Ugh. Seriously...just disgusting.

by kanto_wanderer   1 day ago (Sun Jan 7 2007 11:17:13 ) Ignore this User | Report Abuse


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Yimou makes an epic piece of artistry, and you're ashamed by it, while we here in America have films like Jackass and White Chicks to our credit. I suggest you re-consider your stance on this picture.

by Tabbby   16 hours ago (Sun Jan 7 2007 22:35:47 ) Ignore this User | Report Abuse


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You make me laugh Kanto with your comment about American cinema, but I must sadly agree. I plan to see Yimou's spectacular film soon and look forward to it. I rather see this movie over something like Borat any day, any time.

by fabercastell   6 hours ago (Mon Jan 8 2007 09:16:00 ) Ignore this User | Report Abuse


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tabby and kanto, i hate westerners like you. you only see these chinese movies that come to your western country, go to hong kong cinema on a regular day and these aren't the kind of movies that are on. they have many movies in china that are just like white chicks or jack ass in substance. they're two different genres, you live in a western country and you see ALL the western movies relesased, you only see a handful of foreign cinema released, the ones with the biggest budgets and acting talent, but you don't see the many low quality movies that are just as lacking as movies like white chicks or jack ass. it's so stupid when americans or other westerners act like only foreign movies are good, it's just self hating or some kind of problem, western cinema has many good movies, but also many bad ones, the bad ones are more frequent in ANY country.



by kanto_wanderer   4 hours ago (Mon Jan 8 2007 10:25:07 ) Ignore this User | Report Abuse


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I don't disagree that any of what you're saying is true. In fact, I'm aware that much of foreign cinema is crap. However, the majority of us here in America only have the opportunity to see a handful of what's currently being produced overseas, and those films are usually sent over here because they're the best of the best. It doesn't mean that I think every American film currently being produced is garbage, or that I think every foreign film that happens to be released overseas must be an automatic masterpiece.

But I think it's hypocritical of you to assume that only Americans are the ones with biases towards (or against) the cinema. We all think lesser of the filmmaking we have a greater awwareness of -- so you also probably think higher of American or other foreign cinema than films being made in your own country. And of course when you lump the world's great filmmakers, minus the ones from your own country, it's only natural that you'll have a greater total of films abroad. That's only natural.

Plus, for those of us who see so much of the same thing being produced in our respective homelands again and again, it's exciting to get some variety from a foreign perspective. Of cultures and ideas different than our own, regardless of how high the quality of these films may be.

So for you to say that only Americans have this pre-conceived notion that we consider most of our cinema to be lousy, while most of foreign cinema is great is complete nonsense. You know more of what's produced in your own country, so you're a better judge of the good and the bad. But you probably look at cinema from foreign lands less perceptively, assuming that better films come out of other countries than what you're used to seeing from your homeland.

My particular comment was only directed towards the fact that a Chinese man should be disgraced by a Zhang Yimou film -- something us foreigners apparently wouldn't understand -- while here in America we have many worse films to our credit. It just seemed silly to me, that's all. No need to make a big deal outof it.
 
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周末看了黄金甲，基本认同dyrz的观点，电影拍的还是不错的，是张艺谋拍的最好的一部古装大片，还是具有较高的欣赏性的，不过电影里这么多女人把mimi挤成那样，实在是有点莫名其妙，不知道老谋子怎么想的。

跟国际接轨吗

也来 贴一篇
再贴张最喜欢的剧照...
A Film Review by James Berardinelli

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Hong Kong/China, 2006
U.S. Release Date: 12/22/06 (limited)
Running Length: 1:58
MPAA Classification: R (Violence)
Theatrical Aspect Ratio: 2.35:1
Cast: Chow Yun Fat, Gong Li, Jay Chou, Lie Ye, Chen Jin, Ni Dahong, Li Man, Qin Junjie
Director: Zhang Yimou
Screenplay: Zhang Yimou, Wu Nan, Bian Zhihong
Cinematography: Zhao Xiaoding
Music: Shigeru Umebayashi
U.S. Distributor: Sony Pictures Classics
In Mandarin with subtitles





Curse of the Golden Flower is director Zhang Yimou's ambitious attempt to blend martial arts action with Shakespearean melodrama. It's not a perfect marriage but it offers two hours of solidly over-the-top entertainment featuring incredible visuals and powerful performances by international icons Gong Li and Chow Yun Fat. While aspects of Curse of the Golden Flower hearken back to some of Zhang's earlier films, the movie as whole is more in keeping with the style he has developed in recent years (with Hero and House of Flying Daggers). The strong elements of melodrama in the story are likely to make it more accessible to those who found those movies too action oriented.

The film is established in the 10th century during the short-lived Later Tang Dynasty. Despite the historical setting, the movie is not factual on any level, nor does it pretend to be. In fact, the primary source material for Curse of the Golden Flower's screenplay, co-written by Zhang , Wu Nan, and Bian Zhihong, is a Chinese play set in the 1930s. Zhang has re-worked the story to transport it more than a millennium back in time. There are also strong Shakespearean overtones to what transpires. It would be surprising for any literate viewer to sit through Curse of the Golden Flower and not think of Hamlet at least once.

China's royal family is in turmoil. The Emperor (Chow Yun Fat) is gradually poisoning his wife, the Empress (Gong Li), by adding a deadly fungus to her hourly anemia medicine. The Empress is sexually involved with her step-son, Crown Prince Wan (Lie Ye), who is also carrying on with Chan (Li Man), the daughter of the palace doctor. Prince Jai (Jay Chou) has returned from a long period fighting the Mongols to learn this lesson from his father: "Never take what you have not been given." The youngest son, Prince Yu (Qin Junjie), stews in a cauldron of jealousy because his brothers get all the attention. Meanwhile, the Empress learns of her husband's plans to take her life and plots an intricate plan of revenge that relies upon Jai's loyalty to her.

Those expecting Curse of the Golden Flower to replicate Hero and House of Flying Daggers in terms of style and approach will be surprised by what this movie offers. Over the course of its 120 minute running time, Curse of the Golden Flower provides a share of sumptuous visuals. The scenes in the palace with its colorful curtains and carpets are a Technicolor dream, as are the shots outside the building with a field of yellow chrysanthemums filling the courtyard. Color is one of the filmmakers' chief tools. In some circles, it has become fashionable to desaturate hues until the palette is almost black-and-white. Zhang uses the opposite approach, with reds and yellows in particular being highlighted. The material may be dark but the look is bright and gay.

There are several martial arts sequences, including an epic battle that is too obviously computer generated, but nothing to match the artistry of Zhang's previous movies. This one is more plot heavy and the strands of the story weave a tragedy that would make the Greeks proud. There's incest, betrayal, murder, poisoning, fratricide, and various other unsavory human endeavors. This isn't the kind of movie you watch when you want to feel good about the human condition. Admittedly, it goes way over the top in some areas, but that's the kind of thing most melodramas do.

Solid performances by Gong Li and Chow Yun Fat anchor the story. The other cast members, except perhaps pop star Jay Chou, who exudes screen presence, always seem to be struggling to keep up. (This includes Zhang's latest "find," Li Man.) Gong, appearing for the first time in more than a decade in a film directed by Zhang, channels elements of her character from Raise the Red Lantern. There's some of the pain, loneliness, and incipient madness of that woman in the Empress. Chow Yun Fat taps into a vein of sinister amorality. His Emperor is powerful and smart, but never likable.

Curse of the Golden Flower is a spectacle. Even during those times when the plot either doesn't make a lot of sense or becomes too contrived, the movie is too beautiful to look away from. It's enjoyable in the same way a soap opera or potboiler is enjoyable. It looks like high art, but isn't. The subtitles alone keep it from being mass entertainment in North America For those who have appreciated Zhang's work during any of the stages of his career, this makes for engaging and interesting viewing. It remains to be seen whether this is a one-off experiment or whether it represents the next direction in which his exploration of filmmaking will take him.


© 2006 James Berardinelli

James 的影评很中肯。看来他是一个对中国文化略有了解但知之尚不深的人。

我向老外同事们推荐这部电影，结果他们看了之后竟然说没有《英雄》好看。理由是他们不希望那皇帝赢，不符合西方好莱坞的“邪恶一定会被战胜”的一贯电影逻辑。我好想跟他们解释其实电影中谁都没胜，那个皇帝连继承王位的血脉都没了，谈得上什么胜利呢。但是想了想解释起来会没完没了的， 于是只好作罢。

对于这部电影要诠释的思想--所谓不能破的封建礼教伦常道德害人不浅---西方人永远不会懂。这也就是为什么许多老外都觉得这部电影中每个人都像疯子一样行事，不make sense，而中国人，尤其是学过《雷雨》的中国人，觉得电影要传达的思想是不言而喻的。想是老谋子太take it for granted， 以为中国人的masterpiece 到了海外也一样可以被轻易理解。孰知那个思想主题竟然是China specific的。对于刚刚从几千年封建礼教下挣脱不久的中国人，那很容易理解。可是对于封建意识已经经历了几百年资本主义洗礼以及从未经历过封建社会的美国人来说哪能理解封建那一套呢？老谋子拍一部以西方人为首要观众群的电影并意图籍此冲击奥斯卡，却拿了一个只有中国人才明白的思想主题，不得不说是选材的失误。 也许如果下次还想冲奥，就应该选择一个地球人都理解的思想主题（比如人性的善恶以及爱情什么的）。因此对于《黄金甲》仅获得了一个最佳服装设计提名而未能入围奥斯卡最佳外语片也就在情理之中了。

题外话一句，前些日子看到网上动辄用“冲奥”来形容中国电影人的努力。甚至将其与诺贝尔文学奖以及奥运会夺冠一样相提并论。鄙人以为这真是滑天下之大稽。

诺贝尔与奥运会都是国际的。所有国家都是在同台竞技，the playing field is level。相比之下，奥斯卡不过是美国国内的电影节，虽说近年来越来越多地关注外国电影，但是脱不了national电影节的胎。因为那些评委都是美国人。他们只不过在评判自己国家的电影之余（骨子里他们是假定美国电影是最好的），施舍一点点时间兼顾一下世界其他国家的电影而已。从这个意义上说，奥斯卡其实都无法与威尼斯或者戈纳或者柏林电影节相提并论。 因此，一部中国电影如果要以一个外国国内的电影节来评判其好坏，即便对于我这个嗜好Hollywood的人来说也觉得非常可悲。

当然我不是不赞成中国电影人去圆一个奥斯卡最佳外语片的梦。因为毕竟目前美国好莱坞还是世界上电影业最强的地方。像老谋子已经斩获了威尼斯和柏林电影节等国际大奖，下一个目标瞄准了奥斯卡自然无可厚非。我只是主张不能把奥斯卡看得那么重，因为那毕竟是人家拿人家的标准来衡量咱自家的东西。自家视作宝贝的东西外人未必知其珍贵。因此，不能因为《黄金甲》无缘奥斯卡最佳外语片就说它不够好。就像巩俐至今未获奥斯卡提名，而小章同学却已经被提名奥斯卡，你是否就可以说巩俐的演技比章子怡差呢？那只能说明奥斯卡欠巩俐一尊小金人。退一步来说，巩俐需要奥斯卡来肯定自己的演技吗？

感慨了这么多，就再多感慨一句，何时能等到美国或世界其他国家的电影以获百花或金鸡奖为荣？

最后，谢谢bodyliu老兄的肯定。我还是非常看重你在艺术领域的天赋的（绘画、摄影、音乐都超强，演技如何我不知道）。如果咚咚继承了你的这些天赋，强烈建议她从事艺术工作。



[ 此贴被dyrz在2007-01-31 05:53重新编辑 ]

dyrz写的真好，剖析的很深刻，除了对本人的谬赞之外

我诚挚地希望在有生之年，也能从事一些艺术方面的工作

Quote:

引用第18楼bodyliu于2007-01-31 12:33发表的“”:

我诚挚地希望在有生之年，也能从事一些艺术方面的工作

你现在转行太晚了，还是把心血花在培育“花骨朵”身上吧。