The score of "Meng Hua Lu" is very high Even passers-by can not help but want to squeeze how much water there is in the 8.7 points. The high score of "Meng Hua Lu" is more like an emotional praise. The public's tolerance of "Meng Hua Lu" is like a long-standing "revenge" against traffic. Even if the play itself only reaches the qualified level, it is enough for most people to express their dissatisfaction with the domestic plastic ancient puppet show by scoring.
At the same time, the evaluation of "Meng Hua Lu" was separated and formed two extremes.
It has been a long time since the domestic dramas were so lively.
The broadcast volume in 7 days exceeded 1billion, and the s+ project of Tencent video was finally elated.
The success of Meng Hua Lu lies in its clear thinking - doing everything that "should have been done well long ago".
Grasp the first meaning of ancient costume idol drama: enjoy sex**
In terms of visual effect, it is finally worthy of the aesthetic appreciation in 2022, and gives the audience the experience that "members do not open for nothing".
Finally, in a domestic costume drama, we have seen pleasant empty mirrors, props that do not make mistakes in facts, clothes that conform to the background of the times, and exquisite history and culture. If you finish all the above work, it will be enough to get rid of your peers.
Director Yang Yang is probably a cultural and aesthetic creator. Shooting across ten cities requires "not too full of furnishings" and "not too messy colors" for the set. The composition and aesthetics are high and elegant, restoring the texture of the Song Dynasty culture. Only then can the whole work be convincing.
The characterization is also quite professional.
As soon as Liu Yifei came out, she didn't have any sense of dissociation. People and scenery were integrated. The boatman in Jiangnan Water Town was like a wonderful person from the paintings of the Song Dynasty.
The modeling of the three women properly serves the role itself.
Zhaopan'er, the teahouse owner played by Liu Yifei, opened stores in Qiantang (Hangzhou) and Tokyo (Kaifeng).
During the Qiantang water village period, zhaopaner's ootd was mainly plain cotton and hemp. When she worked, she would roll up her sleeves, which was more agile.
During the Tokyo period, Zhao paner's clothes were more elegant. The style was mainly above and below the skirt, and the yarn texture was added to the fabric. In the later period, it is said that the main style is to add a pair of shoes to the bra, and the embroidery is more exquisite. The three costumes in the three periods reflect the different identities and circumstances of the characters.
The costumes of the two female supporting roles also conform to their respective identities.
Song yinzhang, the pipa lady played by Lin Yun, is wearing the performance's bra gauze skirt; Sun Sanniang, played by Liu Yan, is a cook. Most of the scenes are in cotton and linen clothes, aprons and headscarves.
The neat bun and meaningful makeup bid farewell to the all-in-one beautiful pupil, Korean flat eyebrow, untimely shawl hair and even elegant lip color of the ancient costume idol drama.
What's more, this is also the first time we have seen legal lines and eye bags in ancient costume idol dramas. Even Liu Yifei will have traces of time, and this play has not avoided these traces. The characters are real, not painted.
In addition to the comfort of visual aesthetics, Meng Hua Lu also tries to popularize history as much as possible on the cultural background.
Zhao Pan'er, as a teahouse owner, is good at "ordering tea" and painting tea operas (similar to today's coffee flower drawing). There are also scenes in which teahouse owners compete with each other in "fighting tea", which is more attractive than talking about love.
Compared with most ancient costume idol dramas, they lazily set the background in the Qing palace or heaven Wonderland. With the Song Dynasty as its back, Menghua Lu has a rudiment of civic culture, which complements today's market economy.
For example, the blind box in the Song Dynasty is called guanpu trading; Barbie dolls in the Song Dynasty were called mohuile; In nail salons in the Song Dynasty, women used Impatiens to dye their nails. Even people in the Song Dynasty played with the twelve constellations. Sudongpo felt that he and Han Yu were both fatigued Scorpios (Capricorns).
The success of "Meng Hua Lu" proves that the domestic costume drama is not dead.
The world has been suffering from "ugly puppet drama" for a long time: the green screen is cut, the color is strange, the filter is thick, and the skin is rubbed to the face without light and dark contrast. In addition, with the flow as the standard for casting, men and women do not even have the most basic appearance conditions, let alone the level of acting skills.
An ancient puppet play
As a unique product of China, ancient costume idol drama is a type of drama with high requirements for appearance.
Since it is not a serious historical drama, then the first meaning is beauty.
When the business level of the peers is at the freezing point, the appearance of a "dream of China" is enough to arouse the audience's rebellious psychology - people with a clear eye have seen that some things are not impossible, but not attentive, backed by strong capital.
The external conditions and production details highlight the sincerity and the lower limit.
What level the upper limit of this play can reach depends on the content and intention.
At the beginning of the book, Meng Hua Lu threw out the most important drama conflict, a story strongly related to modern love: the sisters were trapped in a pig killing dish, and the women helped each other to save them.
All three women have experienced betrayal and deception.
Zhao Pan'er's fiance ouyangxu, who had been waiting for three years, gave up after passing the examination; Love brain song yinzhang married Zhou she, a scum man. After marriage, he was cheated out of his savings and was subjected to domestic violence; Sun Sanniang was divorced by her husband, and her son recognized Xiao San as his mother.
The three women also achieved salvation through each other.
Zhao Pan'er pretended to seduce Zhou she with her looks and gold and silver, and successfully tricked Zhou she into divorce from Song yinzhang. On the other hand, song yinzhang and sun Sanniang helped Zhao Pan'er find the former scum man in Tokyo and help the sisters get justice.
After dealing with the emotional crisis, a story of "images of independent women drifting North" was born, and a "Tokyo Women's illustrated book" was reproduced.
The audience can easily substitute this story because it is completely based on the modern context:
Beipiao has partnered to open an online popular middle-class coffee shop. Zhaopaner is the chief Barista. Song yinzhang is responsible for creating an atmosphere with the pipa, and sun Sanniang is responsible for making desserts. She uses combination boxing to attract the leisure class in first tier cities to consume. Among them, there are many sections of "hunger marketing" and "daily purchase restriction per person", which make it difficult not to think of the tea lovers downstairs.
It also launched the marketing means of "Song Dynasty Ode to joy", and won the tickets of most female audiences.
Such familiar scenes often appear in several female dramas in recent years
The second selling point of this play, which is also the fastest and most ruthless way to harvest users, is to fry CP.
Even though "eating CP" is a highly subjective behavior, according to the current feedback, the CP of Liu Yifei and Chen Xiao has a rare popularity in recent years. Even though Weibo has long lost the status of crazy fighting in the hyperphone community in previous years, the "Gupan Shenghui" CP derived from the series still broke out.
The reason is very intuitive: easy to eat.
The male and female protagonists have superior appearance and qualified acting skills. The emotional drama is not awkward, and the degree of completion is very high. The text and lens of the main creative design are exquisite and conform to the implicit expression of Oriental people.
Zhao Pan'er couldn't confirm each other's feelings. She was in a state of crying and laughing. Liu Yifei handled it very carefully.
When men and women talk about love, they abandon the rampant confession, but look at each other and remain silent "all in silence", which is indeed in line with the Chinese character.
Zhao Pan'er leaned against the railing and looked into the distance at his beloved's boat. When he didn't need his lines, the director wouldn't let them spoil the atmosphere. "Traditional Chinese painting pays attention to leaving blank, not too full", director Yang Yang has her aesthetic preference.
After the engagement, the picture stops on the two mating carp in the pool, counting until the end.
The last selling point of "Meng Hua Lu" is Liu Yifei, the assassin's mace
After all, Liu Yifei can be called a "special actor" in a sense for domestic costume dramas
Except for the golden powder aristocratic family when she started her career at the age of 14, the other works all belong to the same type of roles: Wangyuyan, the fairy sister in the eight dragons, the little dragon lady who lives deep in the ancient tomb in the eagle heroes, and zhaolinger, the descendant of Nuwa who doesn't eat human fireworks in the legend of the immortal sword and the fantastic Xia.
These vague figures overlap together, giving Liu Yifei the symbol of his life: Immortals.
"Legend of immortal swordsman"
But the immortal spirit was also the cage she could not get rid of easily.
When she became an adult, her films always hovered at the passing line of 5-6 points. Female soldiers, village girls, female killers, and even Mulan made her feel uncomfortable in front of the camera.
Writer and screenwriter Quan Yong first said a paragraph to explain the subtle magnetic field between actors and characters:
"An actor really does not lie in beauty or ugliness, but in convincing people. He sits there: insidious, cunning, calm, intelligent, or a monster genius... He doesn't have to speak, he doesn't have to work hard, and he just shows it naturally on his face. In addition to the ability to understand the role, it also needs such things in the actor's own genes. Otherwise, let a fool play a smart man; let a person with little culture go Play the wise; Or let a coward play a warrior; A chicken thief plays a saint; Will let the audience see the flaws. So great actors need deep self-cultivation and a deep understanding of all metaphysical things. "
Such a magnetic field is the connection between Liu Yifei and the ancient beauty God.
"Divine eagle heroes"
When the audience is devastated by various traffic ancient puppets, Liu Yifei's return is like a breeze blowing the hills**
A few years later, the 34 year old Liu Yifei washed away her immortality and even added charm and shrewdness. Such a surprise brightened the eyes of the audience.
Liu Yifei, who was more than ten years ago, might not be able to parry all the "immortals" of slapping in the street, seducing scum men, and playing dice with the Yamen.
In the mixed clip video of station B, the audience is constantly looking for the match between Zhao Pan'er in 2022 and Zhao ling'er in 2005.
What we want to find is the "celestial certainty" that has not changed for more than ten years.
This kind of pleasure, which is similar to "reorganizing and eliminating the ancient puppet circle", has virtually raised the score.
At least 2 of the 8.7 points are "celestial feelings" that people have been holding back for too long.
But the play was not perfect, and the criticism gradually overshadowed the praise.
The controversy lies in "feminism"
No matter from the text content or the later publicity and marketing, the play follows the path of "girls help girls". Feminist Care has become a powerful weapon in contemporary film and television dramas.
It is said that the main creator does have some thoughts hidden in the details.
At the beginning, the colleague of the hero guqianfan called Zhao Pan'er a famous beauty in Qiantang. When there was a conflict between the two sides, the man called Zhao Pan'er a dead woman.
Peerless, village girl, cunning woman and mother-in-law are all symbols of women. Some are covetous and some are stigmatized. Men's gaze and evaluation of women can change the world in a few minutes.
Song yinzhang didn't listen to his sisters' advice and insisted on marrying a drunken man Zhou she. Finally, he was tied to the hospital as a dog. Few domestic TV dramas have made the exploitation of women in the feudal patriarchal society so straightforward.
Sun Sanniang was driven out of the house by her husband and son. She almost lost her mind. She can't understand why as a mother and wife, she still can't get respect after giving everything, even her life.
Zhao Pan'er advised her that you are not only a mother, but also yourself.
At the beginning of the broadcast, the women's awakening moment, which was hotly discussed, also gradually cooled down with the development of the plot.
The first three of Douban's drama reviews are almost all negative criticism, all pointing to the same contradiction: vain feminism, overestimated ideological intention**
"Meng Hua Lu" is adapted from the drama "Zhao Pan'er saves the wind and the moon" by Guanhanqing, a dramatist of the Yuan Dynasty. Both Zhao Pan'er and song's quotations in the original text are prostitutes at the bottom.
After song yinzhang was cheated by Zhou she to get married, he was beaten and abused all day long. As soon as he got married, he "beat me with a 50 point sword". Song yinzhang had to fight for help from his sister zhaopan'er. Zhaopan'er, full of chivalrous spirit, used her wit and beauty to cheat Zhou she into a divorce certificate and save her sister.
"Don't worry about your inner worries. Don't worry. I'm looking for autumn without losing my flowers and leaves. The girl's heart is like a donkey and a dog. I show off his exquisiteness. I'll go there. I'll say a few words. I'll write the divorce. Everything will stop. If I don't write the divorce, I'll pinch him. Pinch him. Hug him. Hug him. He's Crispy all over. He's numb. A piece of sugar is smeared on the concave of his nose. He licks it but can't lick it. I can't eat it 。 Earned the guy to write a divorce. I'll quote the letter of divorce. Drowned. I got out of here. It's not a romantic affair. I'll take that man off for a while. "
In the original text, Zhao Pan'er really grasped Zhou she's pain with the skills of beauty and romantic scene.
However, Meng Hua Lu has castrated and beautified many settings in a "grand cleansing" way
As soon as she appeared on the stage, Zhao Pan'er constantly stressed to the audience outside the camera that she was a clean girl. She got rid of her cheap book early and cut off from the bottom prostitutes. He has absolutely no "Israel is a man" and has nothing to be ashamed of.
Such lines of self incrimination will appear every few episodes, as if to constantly remind the audience that the protagonist is a clean and good virgin.
After arriving in Tokyo, song yinzhang complained about her identity as a musician. The lady Huakui in Tokyo advised her to be more open:
After all, playing the pipa is a skill. You don't use lust to help others. Only Israel is cheap.
This line has triggered the biggest controversy since the inception of "Meng Hua Lu"
In the play, prostitutes are divided into three, six, nine, and so on. They think that the prostitutes at the bottom "sell themselves to the vulgar", which contrasts with the Yue Ji song yinzhang (who never sells himself) and the Congliang Zhao Pan'er (the virgin version), which is a more noble and innocent body.
Such an adaptation distorts the character of Guanhanqing's original works - even the prostitutes at the bottom have the wisdom and courage to confront the powerful classes and have the chivalrous spirit The nobility of human nature has nothing to do with virginity
Compared with Guanhanqing's focus on women at the bottom 700 years ago, the main creator of "Meng Hua Lu" seems more conservative.
In combination with the plot, the creator may want to express the inspirational declaration about independent women: it is not a vulgar thing to get a class jump by relying on appearance and body. Only by practicing a skill hard can we live a decent life.
However, the dream of China failed because the creator did not clarify the most basic problems:
Most prostitutes at the bottom of feudal society were passive in their lives
The prostitutes they call "unable to be upright" have no choice, not do not want to choose
"Sister and sister stand up" (1951, Douban 8.9 points)
Not only that, in addition to the "decontamination" of prostitutes' identities, the screenwriters also designed male and female masters as "double clean" people.
Shuangjie, that is, the male and female protagonists have no love experience and sexual experience. No matter how old they are, they all keep their virginity for each other.
Is it reasonable to put such a setting in the records of dreamchina?
Zhao Pan'er got rid of her cheap book and had been in love with her ex boyfriend ouyangxu for three years, but she always "started with emotion and ended with ceremony". Guqianfan, a 30-year-old official of the second generation, is a talented person, but he has never been in love.
Before they had sex, they were so "innocent". After each other's experience, we can rest assured that you and I will be friends
For a TV play marketed under the banner of "feminism", I found that it contained the concentrated essence of feudal chastity.
In addition to the high purity of the relationship between the characters, the flattery of the play to power is even more disappointing**
In the rescue of song yinzhang, the hero guqianfan saved zhaopan'er at the last minute.
Zhao Pan'er and Zhou she went to court. Unexpectedly, the county magistrate sheltered and connived at the powerful second generation of the rich. Instead, he wanted to beat Zhao Pan'er with dozens of sticks.
At a critical juncture, guqianfan invited a greater official than the county magistrate, which forced the county magistrate to preside over justice.
The reason why this arrangement can be made is that guqianfan is a hidden second generation of officials. He uses the power of the prime minister's father to suppress local officials.
It has to be said that these times of hidden worship of power really grasped the pulse of the times.
My prime minister's father
The persona of the protagonist zhaopaner not only eludes the identity of a prostitute at the bottom, but also adds the hidden background of the second generation of officials:
"It doesn't look like an ordinary market woman, but she was originally an official.".
Guanhanqing would laugh at it.
I remember when I was a child, we could see on TV that the common people, little swallow, did not want to kneel down to the emperor and empress, and that luyiping was beaten all over with injuries and did not want to bow down to the warlord father. Now, even a fictional hero should be accompanied by a vice National Father, a ministerial grandfather, and full of glory.
700 years later, the stories of the lower class people were replaced by the love stories of the second generation of officials. This is the root cause of the dispute.
Maojian, a writer, once said, "film and television plays are the most feudal place in China." This point of view has not changed at least in the "record of dreamchina".
Even in the process of continuous marketing, a new faction has formed: using the superficial theory of women's freedom to cover up the deeper problem of structural power identity.
Compared with the so-called feminist adaptation of the Yuan opera, "Meng Hua Lu" is more like an original Jinjiang literature
Go back to the score of 8.7.
In a general sense, domestic TV dramas that can achieve more than 8 points will leave an infinite space for the audience to think.
In recent years, new dramas of the same level include "big rivers" and "hidden corners"; The old plays include blood romance and the happy life of garrulous zhangdamin. Their story is far more shocking than an ancient puppet show.
Even after years of talking about Zhang Damin, people still can't forget the tree in Damin's room and the conversation that ended with the three of his family. This is the power of truth. Our creators have written such touching stories.
However, apart from pleasing to the eye, exquisite picture and smooth plot, the dream of China record has not much value to be left behind.
The phenomenon drama will only stay on the phenomenon and heat in the end.
"Meng Hua Lu" is more like a group carnival. It celebrates the joy of a long drought and showers. It is joyful to see certain beauty in uncertain times.
Everyone celebrated that Liu Yifei came out of the mountain again after 16 years and defined the ceiling of ancient beauty; The celebration is that after seeing enough ugly men and women, a really sweet and delicious screen couple finally arrived; Celebrate that there is finally an ancient costume drama, no longer fooling the audience as a live fool.
As a pastime, the play has reached a level rarely seen in recent years. If it is required to have the function of educating the society and arousing thinking, it is indeed difficult. It's just an entertaining TV play.
"Meng Hua Lu" needs a basin of cold water to cool down, rather than letting the excessive Douban score and biased publicity and marketing mislead the over expected audience. It is enough to talk about love. There is no need to give it too great significance.
This is also the last sigh from the audience of domestic dramas who have lowered their standards step by step over the past decade --**
Perhaps this is the best TV series we can have in our current era.