{"id":112,"date":"2024-03-04T17:50:00","date_gmt":"2024-03-04T09:50:00","guid":{"rendered":"http:\/\/198.144.183.115:206\/?p=112"},"modified":"2025-05-13T16:53:18","modified_gmt":"2025-05-13T08:53:18","slug":"the-excellence-of-this-movie-isnt-solely-due-to-tang-wei","status":"publish","type":"post","link":"https:\/\/televisionnews.live\/index.php\/2024\/03\/04\/the-excellence-of-this-movie-isnt-solely-due-to-tang-wei\/","title":{"rendered":"The excellence of this movie isn’t solely due to Tang Wei."},"content":{"rendered":"\n
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While the final outcome may be slightly disappointing, just having the chance to star in a \u201cgreat film\u201d is already quite rare. Observing Tang Wei\u2019s confident demeanor at Cannes makes it clear she has always been an actor worthy of bigger platforms and more opportunities. It also underscores that her talent and hard work naturally don’t align with mediocre roles.
Certain exceptional actors conquer both mainstream and niche audiences through various roles. However, their most iconic screen portrayals undoubtedly capture moments of their \u201ctrue selves.\u201d<\/p>\n\n\n\n

Seeing Tang Wei evokes memories of Xiao Hong (\u8427\u7ea2), Wang Jiazhi (\u738b\u4f73\u829d), Anna from \u201cLate Autumn,\u201d and perhaps even Wan Qiweng from \u201cLong Day\u2019s Journey Into Night.\u201d These characters embody what fans often say:<\/p>\n\n\n\n

\u201cShe is Tang Wei!\u201d<\/p>\n\n\n\n

Even though this time she worked with Korean director Park Chan-wook (\u6734\u8d5e\u90c1), true cinephiles will rejoice at seeing such a talented actress collaborate with an equally talented director.<\/p>\n\n\n\n

Female characters in Park Chan-wook\u2019s films share certain traits. On one hand, they\u2019re viewed through a male director\u2019s lens; on the other hand, they possess enough allure combined with childlike innocence and destructive power.
In his \u201cVengeance Trilogy,\u201d \u201cLady Vengeance\u201d stands out as most indicative. While his earlier works lacked female consciousness, later films like \u201cStoker,\u201d \u201cThirst,\u201d and \u201cThe Handmaiden\u201d elevate female energy above male counterparts.<\/p>\n\n\n\n

These characters embody both destruction and revenge; they especially do not suppress their desires quietly.
Before Tang Wei came along, Park\u2019s films featured Lee Young-ae (\u674e\u82f1\u7231), Kim Min-hee (\u91d1\u654f\u559c), and Bae Doona (\u88f4\u6597\u5a1c). Even without Park\u2019s films, these actresses rank among Asia\u2019s top tier. Early viewers of \u201cDecision to Leave\u201d found themselves surprised by how purely romantic it was\u2014a stark contrast to the violent elements typical of \u201cOldboy,\u201d making it feel uncharacteristic for Park.
However, looking back at his previous works reveals that all his movies blend romance with genre elements\u2014even if not overtly about love\u2014there\u2019s always something brushing against it.
For example, \u201cJoint Security Area\u201d touches on brotherhood while \u201cThe Handmaiden\u201d explores master-servant romance\u2014gender boundaries notwithstanding. Yet on another level, \u201cDecision to Leave\u201d remains profoundly erotic\u2014a hallmark of Park\u2019s style.
Though explicit sex scenes are absent from this film, it doesn\u2019t detract from its eroticism because Hae-jun (\u6d77\u4fca) and Seo-rae (\u745e\u83b1) share a desire-laden love story embellished with sexual metaphors under Park\u2019s direction.<\/p>\n\n\n\n

Their relationship might remain unfulfilled or unacted upon but never lacks depth beyond mere rationality within love.<\/p>\n\n\n\n

A policeman paired with a murder suspect provides enough contrast for mutual intrigue\u2014the murder case serving as adhesive binding them together tightly while handcuffs further emphasize emotional tension.<\/p>\n\n\n\n

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While the final outcome may be slightly disappointing, just having the chance to star in…<\/p>\n","protected":false},"author":1,"featured_media":113,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,2,6],"tags":[],"class_list":["post-112","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-criticism","category-movie","category-recommend"],"_links":{"self":[{"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/posts\/112","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/comments?post=112"}],"version-history":[{"count":1,"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/posts\/112\/revisions"}],"predecessor-version":[{"id":115,"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/posts\/112\/revisions\/115"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/media\/113"}],"wp:attachment":[{"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/media?parent=112"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/categories?post=112"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/televisionnews.live\/index.php\/wp-json\/wp\/v2\/tags?post=112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}