Film Name: 白发魔女2 / The Bride with White Hair 2 / 白髮魔女2
I know this movie isn’t exactly top-notch. It feels disjointed overall. Plus, there’s this random appearance by Chen Yuanyuan. Only today did I learn Chen Yuanyuan is Zhong Liti. Though her appearance was unexpected, she revealed the root of Lian Nichao’s tragedy. So her unexpected appearance was actually quite effective. The film also briefly touched on Chen Yuanyuan’s own tragedy.
I can’t help it—I’m obsessed with Lian Nichao. This is the most weathered, most down-and-out, most passionately devoted Zhuo Yihang in history. Yihang approaches the nearly deranged Lian Nichao and whispers softly, painfully: “Nichao, it’s all my fault. Let them go.” His eyes are hazy with anguish.
Yihang presented Nichao with the Udumbara flower he’d guarded for ten years atop Qianxue Peak. But Nichao snapped, “Why didn’t you say this ten years ago?” She then destroyed the flower and thrust her three thousand strands of white hair into Yihang’s body. Blood gushed forth, staining the white hair crimson. Yet his anguish wasn’t for his own wounds, but for the destruction of that flower of life.
They embraced death together. Their love was devastatingly destructive. It once pierced my heart until it bled. I dare not think of it—many times in my sleep, their presence in my dreams moved me to anguish once more. This is no exaggeration. It took over a decade for such emotions to finally settle.
Leslie Cheung’s portrayal—his demeanor, his look—captured that decadence, self-torture, self-destruction, despair, and humiliation perfectly. It matched my imagination exactly. That’s why I was utterly moved beyond control. Could any man be more devoted than this? If someone showed me even one ten-thousandth of Da Dao Yihang’s devotion, I’d be content.
In a way, this version of Yihang is fortunate—he gained Lian Nichao’s forgiveness before his death. Far happier than in the original story.
Since then, I’ve found it hard to be moved by other love stories. Especially not today’s clichéd “domineering CEO” tropes. Those cheap, tacky, inexplicable Mary Sues and Jack Sues.
Lian Nichang’s malevolence was portrayed with excessive intensity. Yet this perfectly matched the film’s overall atmosphere.
The film’s execution was largely flawed, but the final twenty minutes—Yihang’s return and resolution—redeemed it, preventing it from sinking into mediocrity.
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