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Maverick actor-director Jiang Wen continues to jab at Chinese history with a satire about the fallout of an over-the-top beauty contest in '20s Shanghai. 不按常理出牌的导演，同时也是演员的姜文，用20世纪20年代上海言过其实的一起选美比赛的改编电影，继续在中国历史上猛敲了一记。 "We should struggle less at home, and expand more ashore," says a character during Gone With The Bullet's first section, in which a Chinese diva triumphs over her US and European counterparts in a rigged beauty pageant in Shanghai. Director Jiang Wen, who co-penned this film with eight other screenwriters, has certainly walked the talk in this line: Gone with the Bullets is an extraordinary mélange of seminal stylistic tropes from abroad, a two-hour-plus journey taking in nods to newsreels, silent slapstick, musicals, film noir and even New Hollywood - not to mention the specific pastiches of The Godfather, Chicago, The Italian Job and even the Bogart-Bacall whistle moment in To Have And Have Not. “我们不能在家里挣扎，而要去开拓更多的天地，“《一步之遥》第一部分的一个角色这么说道，这位国人女星在上海一场内箱操作的选美大赛中，击败了她美国和欧洲的竞争对手。导演姜文，和他的八位编剧真的是言出必行：《一步之遥》是外国创意体裁隐喻非凡绝伦一锅炖，两个多小时的电影向资讯片，喜剧默片，音乐剧，玄色电影，甚至是新好莱坞电影致敬——且不说《教父》，《芝加哥》，《偷天换日》甚至还有《江湖侠侣》里比歌的吹口哨场景。 | 
