When I first learned of Guo Tao's existence, in the pioneering experimental drama led by Meng Jinghui, Guo Tao was good at capturing the state. A Long in Scud or Nowhere to Hide, Estragon in Waiting for Godot, Mamma in Romulus the Great, Malu in Rhinoceros in Love, and so on and so forth. In my opinion, acting must first be brought out in the right context. Guo Tao gave me a sense of hopelessness in the small theater, and precisely that is the purest truth. The limitations of the stage, and often the beginning of the profound, for a good actor, to the big no outside, to the small no inside, regardless of the size of the stage to cast, need to recognize the plight of the protagonist. Movies and plays alike, absurdity or humor, are all a state of circumstance. Like "Crazy Stone", is the use of a piece of emerald, leading to different interest groups, more extended out of different human nature, of course, all of this is to focus on a funny story ontology, a kind of "neuro-comedy" feeling.
What Guo Tao has to do is to be the central figure at the center. He is the nucleus of the drama, the solution to the predicament depends on him, but not only no money, and do not necessarily have much experience, and is not all-knowing James Bond type of character, he has only a passionate, but unrestrained, unrestrained, because of the conscience of the side of justice, as for the process, and the various thieves and the same to give the audience a happy, and the most valuable is the harvest of sympathy. In a comedy movie, that's not easy. The valuable emerald, like a magic spell, changes the whole aura, and everyone goes crazy, like an attack of hysteria.
Bao Shihong's prostatitis is actually a double metaphor and isomorphism of work and life. Bewildered and clueless at work, the factory may not be preserved, and the body does not have the smoothness of excretion. Deep in the pressure, but also the general state of the city residents, especially in Chongqing, such as regional core honesty, compared to Beijing, Shanghai, Guangzhou, Shenzhen and other not in the spotlight, but with the majority of small and medium-sized cities, and have certain advantages. Bao Shihong himself is the same, more than the top than the bottom, the hands of a certain power, the body has a certain responsibility, itself is not big, but not bumbling, so, in a commercial movie, Guo Tao molded a backbone between thirty and forty years of age, Bao Shihong in fact, is the representative of the country's people ah. Not an ignorant and uneducated man, and likewise not a so-called petit bourgeois or middle class, his sorrows and hardships, joys and sorrows, anger and successes, are all quite representative.
Wisdom and courage are but a beautiful imagination. Bao Shihong is surrounded by too many mutually constraining forces, crosswise and dark. Living next door to the thieves and helping each other with the washing and shuffling is nothing more than the not-so-laughable reality of life. The people involved, unlike the audience, do not have the fiery eyes of an omniscient narrative. Deep in anxiety, Guo Tao shows Bao Shihong in a trance and clarity, floating and grounded, getting by and being faithful, all unfolding under the watchful eye of that stone.
The human nature in "Crazy Stone" is based on people's specific circumstances, each person is especially sentimental and individual, fetish and even paranoia. Bao Shihong's self-confidence, of course, is the paranoia-like of the little man, its look, very tasteful, mouth on the detective's decision, "bring lime, meet the bad guys, pouncing on the face to spread the past", and sure enough in the end that is how to solve it. At the end of the movie, is the irony of realism, the real jade, as a "fake" fake, given to his girlfriend, and Bao Shihong release the pressure after a vent, restore normal human life.