This being a vast plot point ought to serve as a suggestion to any non-Chinese groups of onlookers viewing the motion picture that this kind of “wistfulness satire” can be significantly less interesting without the best possible casing of reference; I have no thought whether the group was chuckling with commonality at whatever point a tune went ahead the soundtrack or if movie producers Yan Fei and Peng Da-mo were accomplishing something especially subversive by utilizing those specific melodies. The subtitles are quite clever on a few, however, making me wonder in the event that they are unique for the film. Luckily, the film is not especially near dependent on learning of the popular society of 1997 China; being back in secondary school and knowing what’s to come is more vital than the specifics of the past.
The stuff that Xia Luo gets up previously, luckily, are quite damn amusing. It’s funny in substantial part on the grounds that the movie producers appear to be genuinely unconcerned with “great taste” as an idea; does Xia Luo act hugely childishly, as well as the whole cast of characters is somewhat silly, from expansive droll to jokes about how imbecilic one person is while another is spent.