On November 7, the TV series "People in spring" can already be watched in the first 3 episodes of the genuine video platform. Starring Ling Xiaosu, Li Xiaofeng and other actors, the drama tells the story of the community solving a series of problems such as the old factory building in the spring. Through this series of stories, it is not easy to show the work of community neighborhood committees. In terms of theme intention, the play belongs to a typical small community and wants a big temperature, and in terms of specific display, the play has its own good side, and there are also some debatable contents.
In terms of theme, "People in Spring" belongs to the typical main theme and positive energy requirements of the work. The tone of the whole work is sunny and upward. Especially in the plot content, many community conflicts are ultimately resolved through family affection. For example, there is a dispute between the three brothers and sisters for the real estate, and in the end, it is the emotional card played by the old factory director, so that the three brothers and sisters can be reconciled as before. This kind of disagreement and conflict is resolved by emotional cards, which is common in many old-school film and television drama works. The final emotional appeal of this kind of film and television drama is still harmonious, and everyone must be harmonious and harmonious. This is, of course, a very positive value pursuit.
However, this way of resolving contradictions, put down to the present, always makes people feel a little itchy. A property in the metropolis is also millions of dollars. Because of a few words of family affection, the three brothers and sisters can negotiate on their own, which makes people feel less convincing. If they can really be affectionate, then there will be no disturbance of the beginning, and there will be no well-known sibling quarrels. Community stories such as "People in the Spring" are created in principle, which is to raise contradictions and resolve contradictions. In terms of proposal, it has no problem, and in terms of solution, I think, it is still underconsidered, in other words, the screenwriter should still go deeper into life. The one currently available seems a bit shallow.
Even the clown who was making a fuss about jumping off the building in the first episode, how did the old factory director send him money after the farce of jumping off the building? Does this mean that if this clown does not make trouble, the two thousand yuan of pensions and benefits that he himself deserves will not be available for the time being? Such a plot cannot be seriously thought about, otherwise, it will feel that this TV series is still debatable in terms of narrative logic. When there is a problem, always take the way of family affection and emotion first to resolve, in the end, it is easy to appear logical loopholes - jumping farce, does it mean that who makes trouble, who has food?
"People in the Spring" in the first 3 episodes of the plot, is really lively, so that the audience looks very hot. However, the opening part of the TV series seems to be more like a kind of evening sketch narrative, not the narrative that a serious TV drama work should have. The narrative of the evening sketch is the easiest to ask questions, but solve the problem with the principle of emotional supremacy and scribble the problem. Such a narrative lacks the true temperature of life. Therefore, the works under the guidance of this narrative, the kind of fireworks, seem to need to be improved.
For example, in this TV series, although there are many community aunts, and even there are bridge sections where big moms form groups to do things, the performance of this group of big moms always gives the audience a feeling that they are here to perform sketches. "People in spring" is also a pursuit of a sense of sketch at the shooting level, rather than the pursuit of fireworks in the real world. This should be debatable about the director's technique. Such a TV drama work, if you want to present the real community dilemma and solutions, it seems that you can't rely on sketch-style narratives and performances, but should really plunge into life itself, use the best fireworks to lay the groundwork, and sublimate.
He is the stone of the mountain. "Loading Platform" tells the story of Xi'an's urban village, and the fireworks are much heavier. "Mountains and Seas" tells the story of poverty alleviation in the northwest, and the performances of the actors make the audience willing to believe that they are farmers in the northwest. Finding a sense of reality and finding fireworks is a great test of the ability of screenwriters and directors. At the level of the screenwriter, it is necessary to grasp the real contradictions and conflicts, the real situation and the real presentation state of the characters in the contradictions and conflicts, and so on. For the director, when shooting, he should return to this reality, and should not rely on the sketch-style performance to perfunctory plot.
In this TV series work, several comrades working in the community, with several performances, all seek the comedy of the sketch, so that the actors exaggerate their own comedic characteristics. A small fan fan, the community fireworks are all fanned out. This problem does not only appear in a few young actors working in the community, including Ling Xiaosu's performance, it seems that there can be better and higher room for improvement. This kind of hip-hop performance method is not easy for actors to enter the role, giving people a feeling of floating in the role.
Based on the first 3 episodes that have been broadcast, I think that "People in the Spring" is more like a sketch drama in the form of a party, and such a play, although lively, is discounted in terms of realism and fireworks. For community narratives, if they can be serious, they may produce better quality works. (Text/Ma Qingyun)