Download Drama China Destiny Love
Vinnie Breidenthal
As a romantic fantasy period drama coming from the same production house and team of romance epic Eternal Love, Love and Destiny boasts the same beautiful cinematography and a stellar cast of Nini and Chang Cheng, but unfortunately fails to deliver a heartrending love story like its predecessor.
I have yet to finish watching this drama, but it appears from the trailer that there is also the plot about Lingxi losing her memory and becoming a mere mortal, but still falling in love with the God of War all over again.
I would take a stand that Ten miles is waayyy better overall than love and destiny. and I mean, waaayyy better!. The plot of ten miles is superb, not only as it aired first. the LaD, in my view, does not give the angst throughout. Another highlight of ten miles would be the character development as well the excellent portrayal of the actors as the main lead. The comparison, in my perception, is not between Mo Yuan and Jiu Cheng as the god of war since the story of ten miles is NOT AT ALL about Mo Yuan. From the very beginning, the three lives, the worlds love story is about the journey ye hua and Bai Chan. The first in the spiritual form of Lotus with Si Yin, in the mortal world, Su Su with Ye Hua, and the Bai Chan with Ye Hua in the immortal world. Thus, ten miles is NOT the story about Mo Yuan as the god of war. Mo Yuan in ten miles serves as a side character to give a foundation of the story, that he is somehow entangled to both main characters. Mo Yuan as the teacher of Si Yin, and Mo yuan as the twin brother of Ye Hua.
All in all, I agree with everyone else here that I fast forward in the Dong Hua and FengJui scenes. I believed it is so much waste. However, Eternal love surpasses Love and Destiny in so many level that deserves the number one and most-watched Cdrama ever!
Parents need to know that Delicacies Destiny is a Chinese period romance drama following a confident chef making her way to the Royal Palace. Themes of gender roles, sexism, perseverance, teamwork, and empathy are explored. People are punished, often with threats of physical violence; expect to see kicking and slapping. Mentions of love, romance, dating, crushes, etc. are part of the narrative. Some characters pursue their love interests in a pushy way (characters are literally pushed away by their love interests, but they continue trying to advance). Sexism and gender roles are questioned by few and challenged by even fewer.
One of the main and consistently popular categories of telenovelas in modern mainland China is costume series (so-called " ^ S guzhuang", i.e. "in ancient costumes"). Two different genres can be classified in this category: fantasy, including quasi-historical films about time travellers, usually our contemporaries, who for some mysterious reasons find themselves in the midst of important historical events, and proper history dramas. The proper-history group includes a variety of sub-genres, from heroic epics to harem series, historical detectives or comedies. Chinese costume fantasies are mainly intended for female viewers, they are extremely ornate, visual aesthetics is their main artistic nerve. The plots of such series focus on love and mutual self-sacrifice of lovers. To use D. Cawelti's term, they follow a literary formula, with roles instead of characters and conflicts and arcs repeated from one film to another (Cawelti, 1977, pp. 5-36).
Though this cinematographic decision might seem unexpected, we find it in the TV drama "Lu Bu and Diao Chan", where the title hero is a naive and wild child, a Mowgli ready to give his trust and love to anyone who shows him kindness. More so in 1988 Taiwan drama "Diao Chan", where the father and son are so much attached to each other that no amount of manipulation and female interference seem to be enough to break their affection. Lu Bu in this drama loves and respects Dong Zhuo so much that he even readily forgives him physical violence and severe punishment that the father subjects him to. It takes the film director many twists and turns of the plot to make the one kill the other, and that is done almost in a fit of insanity.
This is a popular move that was employed even earlier than the plot hit the screens, in regional and Bejing operas. Diao Chan falls in love with Lu Bu even before she sets her eyes on him in the beautiful and thematically rich musical series "Diao Chan" 1992, she falls for him at the first glance in TV-series "Lu Bu and Diao Chan", in tremendously popular TV-series 2010 "Three Kingdoms" that still enjoy reputation of China's highest ranking drama, and the more recent "The divine warrior Zhao Zilong" of the year 2016.
Both in literary works (with the exception of Yuan dramas) and in screen versions the male character has one deplorable feature: he is not clever and he even knows it himself. When the screenwriters show Diao Chan an intelligent and sensitive lady, they sometimes can't find reason for her to love a gorilla with muscles. Or she has already fallen in love with someone else: either a simple but devoted guy, her fellow villager or a next-door neighbour ("Diao Chan" 1987, 1988, 2006), or a true hero in full possession of what Lu Bu lacks: wits and morals. In this case her hero of choice is Guan Yu ("The biography of Lord Guan", "The divine warrior Lord Guan") or even Cao Cao ("The unrivalled divine warriors of the Three Kingdoms"). But if she stays with Lu Bu and shares his fate, she is bound to feel at least a little attached to him and feels pity for him in his sufferings. She asks his pardon for having beguiled and manipulated him ("Diao Chan" 1992, 2006, "The unrivalled divine warriors"), and pays with her own death for his downfall.
Diao Chan is confronted with such sort of accusations in the TV drama "The divine warrior Lord Guan". But unlike the Yuan period plays, where she was being unjustly blamed for the misfortune of the man whom she, in fact, did love, the heroine in this TV drama had really set him up and helped the enemy to take him prisoner, so her death at the hands of the third party seems a right punishment for the treason.
At the same time, not all directors manage to maintain a balance and show a good combination of historical drama with a focus on political struggle, internecine wars and intrigues - and a story about loyalty and love that humanizes all these political battles (the "Three Kingdoms" of 2010 is a bright example of success in this regard). Many of them slide into a trivial love drama, losing the semantic richness of the plot, which was originally based on the military and intellectual struggle between different political forces. Wiping out everything that does not concern love, the directors produce sometimes nothing more than a sentimental and tedious soap opera.
October 7 Please Give (USA 2010) 90 min. [IMAGE]We lovea juicy New York story, and one that stars the indomitable CatherineKeener is a double bonus. Spurring the drama in this most Manhattanof tales is an elderly female apartment dweller, Mrs. Portman, whosewell-meaning, upper middle-class neighbours (Keener and Oliver Platt)are tapping their fingers, waiting for the older woman to occupy somerent-free space in heaven. They have their eyes fixed on herapartment space, while Mrs. Portman's granddaughters get involvedin these unfolding neighbourly and unneighbourly events. As acted bythe A-list talents of Rebecca Hall and Amanda Peet, the charactersare strong, complex, and as stubborn as New York realtors. PLEASEGIVE is saucy and sharp, and particularly interested in the livesof girls and women and how they live in one of the most competitivecities in the world. Never condescending to her characters, directorHolofcener is nonetheless interested in the personal effects ofcapitalism: can one live an ethical life and own highly valuedproperty at a great NY address? Many would like to try it out.
Shelter (2015): Set on the mean streets of New York City, this moving drama follows two homeless souls -- a heroin junkie and a Nigerian immigrant -- who join forces for survival and soon fall in love. But secrets from the past threaten to derail the relationship.
As an entertainment soldier, (ii) Luo stands out from others andis criticized by the political instructors in her brigade: "Look at you,if we actually encounter enemies, how can you manage to run?" In anotherscene that highlights Luo Dongna's femininity and her correspondingunsuitability to be a revolutionary soldier, her elegant and petty-bourgeoissilhouette is shown standing by the window of her bedroom while playingviolin. This image confronts the revolutionary way of thinking of theworker-peasant-soldier as it is promoted and propagated by the socialistrevolutionary meta-narrative. But it is precisely this image of Luo thatseduces Song Jingsheng and ultimately leads to his illegitimate premaritalsex with her. With the classic Chinese love music Butterfly Lovers (iii)playing, Song is confused and appears to hallucinate as he sees the beautifulspectre of Luo's body. He is captured both physically and mentally.Although obscene plots that may be necessary for the story are dealt with ina perfunctory manner, a Cixousdian jouissance can be detected and shared bythe female audience. Luo's role has its prototype, which is isolated,suppressed and deleted by the revolutionary history, however, its absence in"real" history has been compensated for by its"amplified" representation in the postrevolutionary television TVdramas.
Apart from conforming to Western ideas and criteria that havesurreptitiously intruded into the Chinese cultural landscape, thecontemporary Chinese revolutionary nostalgia TV drama must cater to its owndomestic market. Nevertheless, the market that is "concerned withproducing an entertaining show first and foremost, persists in portrayingwomen as spectacles and sex objects" (Gong 2010, 299). The design ofLuo's role successfully grasps the conjuncture between revolutionaryfervour and sensual desires of contemporary Chinese society. Having beenconstrained by the morality of socialist China for so long, the Chinesemasses are eager to retrieve their long gone (bio-logical) right of sensualand sexual enjoyment. Thus, femininity and female sensuality have becomefertile ground for producing appealing literary, filmic and television texts.Consequently, the Chinese woman is emancipated bodily and spiritually, andthe transformation of Luo is actually a transformation of contemporaryChinese imagination and pursuit of love and sexual enjoyment. As charactersin revolutionary literary works and the people of the revolution suffertogether, Luo and the contemporary television viewers enjoy the corporeal andemotional "orgasm" simultaneously.
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