The costume drama finally started in the Song Dynasty. Tired of watching the Qing Palace drama, the audience still has some expectations for Qingping Music. After all, the temperament of each dynasty is different. How to show the cultural atmosphere of literati in Song Dynasty? How to mold those who are familiar with history?
In my impression, costume dramas in the Song Dynasty are all of this type. Qing Ping Le is the first historical drama in Song Dynasty. It should be said that from the perspective of serving the Tao and the performance of the actors, they are all excellent and impeccable. At the beginning of the broadcast, the restoration of actors' costumes and songs was once popular. Wang Kai, the actor of Zhao Zhen in Song Renzong, plays Ren Jun, who created the flourishing age of Renzong, and is very popular with the audience.
Song Renzong reigned for 42 years and was the longest-serving emperor in the Song Dynasty. This may be the main reason why he propped up a dynasty drama. During the reign of Zhao Zhen, the Northern Song Dynasty witnessed economic prosperity and cultural development, and a historical drama with him as the main line was staged, which should be said to be brilliant.
I am particularly worried about making Qingpingle into a kung fu drama according to ordinary routines. This kind of worry is not unnecessary. Judging from the promo before the broadcast, Song Renzong's sad expression and Huang Cao's flashback seem to indicate a pure love story. As we all know, people in history don't like Cao. He was afraid to run away when the palace changed. Cao took people to solve the palace accidents and protect them. As a result, she directed and acted, and all kinds of DISS showed that Queen Cao had never been favored by the emperor in her life.
Up to now, the plot of Qingpingle is developing in the direction of Gong Dou. Zhang Guifei changed from a dedicated dancer to a domineering concubine, and viciously put the little princess in danger of murdering her sister, so as to set off the dignity and virtue of Queen Cao. However, Zhang Guifei in history has been favored by emperors for many years, because she is a smart and easy-going woman. She doesn't have the paranoia of persecution in TV series, and she doesn't have an idiot who can't keep up with emotional intelligence. She even knew that she was promoted too fast and took the initiative to reduce herself to beauty. However, the characters in the play are completely opposite, so as to take the routine of palace fighting and turn the plot into a regular struggle between good women and bad women.
This play is adapted from the online novel Lonely City. I thought it was the original, because the threshold of online novels is relatively low, it is very important to look good and interesting, and the rigor of historical facts is not high. Just like Fang Fujin and Gan Long were childhood friends in Love in Ruyi Palace, and then they supported each other in the palace. In fact, this prototype was only loved by Empress Dowager Cixi, but neglected by Gan Long, and finally died of depression. However, the fans of "Lonely City Closed" quickly expressed their incomprehension about the adaptation of the TV series: it was destroyed by the magical adaptation of the screenwriter, Zhang Guifei's people were unrecognizable, and Queen CP abused the influence. Netizens even tore up the screenwriter and director directly.
Song Renzong's daughter, Hui Rou, is the protagonist of the original Lonely City. It is not difficult to see that in order to realize the appearance of historical drama, Qingpingle turned Queen Cao into the protagonist. Obviously, this adaptation is awkward. I want to show the history of being in power for 42 years, but I rely on my daughter Huirou's love without twists and turns. Obviously, I can't afford to play the grand picture of historical drama.
Looking back on our excellent historical dramas, we rely on grand brushstrokes and solid words. For example, Kangxi Dynasty and Yongzheng Dynasty were all adapted from February River novels. His imperial novels reached the peak of historical theme, not only narrative, but also realistic, showing ancient life in a magnificent atmosphere. Based on this, who can not like TV series? Therefore, these two TV series can be called magnificent epic TV series. "Qingpingle" is beautifully dressed, the actors are online, and even the etiquette details of the Song Dynasty have been studied and restored. What is lacking is a good author and a good work like February River.
I don't know how the next plot of Qingpingle will develop. If it caters to the market and is entangled in the harem dispute, or according to the original work, Huirou will go online, then there is still a long way to go from the real historical drama.
Hard-working Han Geng, a routine boxing film
After Xu Zongheng's Lost in Russia, Donnie Yen's Flying Dragon Crossing the River and Dapeng's The Big Winner, Han Geng's We Never Give Up became the fourth China film with a cinema line after the Spring Festival. Compared with the lower scores of 5.9 points, 4.7 points and 6.8 points of the first three works, Never Give Up, a work paid to watch on a client, may not get a score in Douban because there are not enough viewers. Some even commented that this is a routine movie, and there is nothing new.
The story of "the prodigal son returns" is not new.
The plot of "We Never Give Up" can basically be summarized as "The Return of the Prodigal Son": Zhou Shi played by Han Geng is an invincible "death" in boxing. He was sentenced to five years in prison because of an accident. After he got out of prison, his wife died, leaving only his daughter Zhou Zi waiting for him. The youngest daughter was found to have leukemia. On Monday, in order to fulfill her daughter's wish, the 36-year-old returned to the boxing ring and competed with the champion for the IBF gold belt. Even if our physical strength is exhausted, our heads are broken and our vision is blurred, we will continue to fight until the outcome is decided.
As a boxing film, the story of "We Never Give Up" is not ahead of the times, even without any new ideas. Many plots are looming in similar works, such as setting the protagonist as a frustrated boxer, for example, killing someone by mistake in prison, for example, the daughter is sick, and the boxer fights for her, which eventually forms the climax of the story. The routine plot of We Never Give Up makes the whole story look like a hodgepodge.
We Never Give Up has more space to show the story of the frustrated boxer and his sick daughter. Because he was in prison, his wife died. After he got out of prison, he began to work to raise his daughter, and he had to compete with the powerful mother-in-law played by Vivian Wu for the custody of her daughter. The plot of this routine is similar to the 20 16 Chinese-American co-production "Tiequan". In Tiequan, Jake Gyllenhaal plays an invincible champion, and it is precisely because of the accidental loss of his dear wife that the champion gave up on himself, thus losing the custody of his daughter. Then the champion finally woke up and returned to boxing. It is really boring for us to choose such a story with almost the same trajectory in We Never Give Up.
Sports movies are difficult to shoot, especially boxing movies, but the charm is obviously very great. Stallone's six Rockies and two Quidditch shows the charm of this theme. A fierce battle movie greatly enhanced the influence of Eddie Peng Yuyan Swift movies. Ang Lee said that his next movie is also about boxing.
Compared with the classic boxing film, Never Give Up chose the bloodiest and most mediocre type in plot and personnel design: it started with an action film, which led to imprisonment; In the middle is a family ethics film, vying for the custody of her daughter. My daughter is terminally ill and uses her family to force her feelings. Finally, of course, like all similar themes, as a genre film, there must be a climax. We will never give up is almost a boxer's version of Where is Dad going? The plots and characters set for sensational purposes often make people feel a little embarrassed.
Han Geng tried "violence aesthetics"
"We Never Give Up" is mediocre as a whole, but the efforts of Han Geng, an actor transformed from an idol, are still clearly visible in the film.
Han Geng, who entered the film circle as a singer, has shown his efforts in films such as To Youth, Growth of Everything, Top 3 and Romantic Death History. But his position and characteristics are not clear. In We Never Give Up, Han Geng tried the role of a boxer, and his breakthrough was obvious. It is said that before filming "We Never Give Up", Han Geng had nearly four months of professional training like a devil. After a long period of fitness and boxing practice, he can't eat starch, sugar, oil, wine and other foods, thus practicing the figure of eight-pack abdominal muscles. During the filming process, Han Geng performed a close-knit fight from boxing to meat with professional boxers. In the face of his opponent's "high-speed boxing", his movements were stiff and he carried thousands of punches on his shoulders.
It can be seen that We Never Give Up is devoted to shaping Han Geng from two directions, one is the father who interacts with his daughter, and the other is the tough guy in the boxing ring. The two are integrated and strive to create a "tough guy tenderness." In the part of interacting with my daughter Tommo, the part of forcing emotion was not successful, but the final boxing match was still wonderful. "We Never Give Up" shows Han Geng, an actor in "Violence Aesthetics", with the boxing scene of the last ten minutes. Although this Han Geng is still swinging between idols and tough guys, his efforts are still clearly visible.