Just as Mr. Wang Kunlun said, "Love Sister Feng, hate Sister Feng, miss Sister Feng when you don't see her!"
Knowing she was bad, but still liking her, because the personalities of such complex characters are so charming.
And being able to play roles like Consort Hua and Wang Xifeng is also a rare opportunity for an actor.
Jiang Ling cherished this opportunity and did her best to portray the character with all her heart.
After half a year of hard filming, Jiang Ling had completed most of Consort Hua's scenes, with only the final scene remaining: Consort Hua crashing into a wall.
After finishing this scene, she could leave the crew.
Jiang Ling knew that Consort Hua's death was the most crucial scene in the early stages and a major climax.
Looking at the overall picture, only the later blood-testing scene could surpass it.
Jiang Ling attached extreme importance to this final scene, dedicating twelve points of spirit to it.
Fearing that Jian Zhou and An Qiuyan might conspire against her, Jiang Ling sent him back to Modu to handle the collection of rent for her 188 forgotten properties.
After extensive research on the character during this period, Jiang Ling was surprised to find that Consort Hua's death was a stroke of genius in the entire drama.
Because her death was not only tragic but also full of pathos and artistic merit.
Zhang Ailing wrote in "The Golden Cangue," "Perhaps every man has had such two women. He marries a red rose, and by and by, the red turns into a mosquito's blood spot on the wall, and the white remains the moonlight outside the window; he marries a white rose, and the white clings to his clothes like a grain of rice, and the red is the cinnabar mark on his heart."
Chun Yuan died in the prime of her life, becoming the emperor's unforgettable moonlight outside the window.
Consort Hua, as the only one in the harem not part of Chun Yuan's periphery but having her own periphery.
Her emotions were so passionate, her makeup and attire so dazzling, burning like fire, a red rose, as if the emperor's cinnabar mark.
Chun Yuan died early, and the moonlight remained moonlight. Consort Hua, this cinnabar mark, accompanied the emperor for many years. Although the emperor also liked her very much, this love became entangled in the vortex of power, torn to shreds. Over time, the red rose became mosquito's blood. httpδ:/m.kuAisugg.nět
Consort Hua's head crashing to her death, with blood splattering, undoubtedly resembled that mosquito's blood spot on the wall.
Therefore, Consort Hua's death was not a coincidence, but a meticulously designed plot by the author and screenwriter.
Consort Hua, with her entire life, interpreted the entire process from red rose to mosquito's blood.
Ru Yi in "The Tale of Zhu Sha Shui Yin" was another living Chun Yuan.
The deceased Chun Yuan transformed from a white rose to moonlight, while the living Ru Yi transformed from a white rose to a grain of rice, ending in a tragic dispersion.
Jiang Ling shed her elaborate robes, dressed in the simplest plain clothes, and sat quietly on a bench in the cold palace, awaiting the finality of death.
Despite knowing she could not escape death this time, the pride of a tiger daughter from a military family and the past glory of being favored by the harem still forced her to hold her head high, looking with disdain at the eunuchs, led by Su Peisheng, responsible for bestowing the death sentence.
Zheng Xiaolong watched the camera the entire time, his eyes never leaving Jiang Ling, and nodded inwardly.
Jiang Ling not only acted well but also possessed a profound understanding of her character.
Consort Hua, so proud, would rather break than bend. Even in her desperate situation, on the brink of death, she would not show fear.
Her disdainful gaze towards the eunuchs was truly excellent, so accurate and on point!