宝莲灯的英文简介请看清楚再给我答案..不要胡乱复制

宝莲灯的英文简介请看清楚再给我答案..不要胡乱复制
宝莲灯的英文简介
请看清楚再给我答案..不要胡乱复制

宝莲灯的英文简介请看清楚再给我答案..不要胡乱复制
Base on a famous chinese myth,lotus lantern is the story of Chen Xiang,an ordinary man who is surprised to find out that his mother is actually a fairy who broke the heaven's rule and married a mortal.With his uncle' help with his uncle's help,Chen Xiang acquires the magical lotus lantern and learns wizardry from a fox spirit,so that he can rescue his mother from the heaven's prison.Filled with marvelous visual effects,lotus lantern is a wonderful,imaginative fantasy with a distinctive chinese favor

The Lotus Lamp
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Stars who die young are doubly cursed. Not only are they dead, but they leave behind a few films that can never live up to the glowing reputation that invaria...

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The Lotus Lamp
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Stars who die young are doubly cursed. Not only are they dead, but they leave behind a few films that can never live up to the glowing reputation that invariably surrounds the prematurely departed.
I realize that sounds glib, placing a poor film performance on the same level as an early, usually tragic death. I’m not trying to belittle these stars or their deaths, only point out that they were more fallable than their post-mortem deifications would lead us to believe.
Linda Lin Dai is one of the best remembered Hong Kong stars of the 50s and 60s. When she committed suicide in 1964, Linda Lin Dai was working on at least two films, the epic The Blue And The Black and the haungmei opera The Lotus Lamp.*
Of the two, The Lotus Lamp was the closest to completion, so it lacks the jagged, Frankenstein edges of The Blue And The Black. But, like that WWII melodrama, The Lotus Lamp shows an actress that time and the Shaw Brothers studio had left behind.
Originally, Lin was meant to share the screen in The Lotus Lamp with Cheng Pei Pei and Ivy Ling Po—Lin playing the motherly Goddess San and Ling Po playing her teenaged son Chen Xiang—a symbolic changing of the guard with Lin graduating to Shaw’s “older women” roles and passing her mantle on to Ling and Chang. But Lin fought the casting, pushing Ling Po out of the film (although she still provides some of the singing voices) and taking two of the film’s three starring roles.
Lin was well-suited for the role of Goddess San, an immortal who falls for and marries the mortal scholar Liu (Cheng Pei Pei). Playing Goddess San required a certain regal bearing and a motherly concern, traits that Linda Lin Dai could exude in her sleep. San, however, exits the movie early when Three Eyed God (Tien Feng), the protector of heavenly purity, and his companion, Sky Dog (a shape shifting German Shepard who should have his own cartoon series—The Adventures Of Sky Dog!) discovers San and Liu’s forbidden love. San is punished with eternal confinement and Liu flees with their infant son, Chen Xiang, swearing to avenge his wife.
Time passes and Chen Xiang grows into a pouty, angry teenaged boy. Once Lin Dai bounds on screen, looking like the exact opposite of a pouty, teenaged boy, the inappropriateness of this casting becomes clear. Whatever Lin’s reason for forcing Ling Po out of the film—jealousy over Ling Po’s rising popularity, insecurity in her own star power, fear that her age (almost 30) would force her from the spotlight or a desire to try a cross-dressing haungmei role that were currently all the rage—the decision was a poor one.
From this moment on, The Lotus Lamp stops being a slight, if enjoyable haungmei opera and mutates into the archetypical train wreck, made all the more awful by its star’s imminent suicide. If Linda Lin Dai had made another thirty films after The Lotus Lamp, the film would simply be seen as one of her lesser efforts. Instead, it is haunted by its casting and suffers all the more for it.
*I’ve seen sources claim she was working on two, three or four films at the time of her death.

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