If Sun Daolin only writes poetry and only plays a few shining roles, it is not enough to make me admire the five bodies, after all, the male filmmakers who can stand shoulder to shoulder with Sun Daolin and even slightly lead him can find at least a few in China.
But but but, but however, Sun Daolin's voice acting for Hamlet in "The Prince's Revenge" has reached the extreme limit of "no ancients before, no one after him, even he himself can not surpass", riding in the dust, ten thousand light years, no one can reach.
I can only say from the feeling that Sun Daolin's "Hamlet" is incomparably good, and I have no ability to express it in words, so I have to copy Comrade Yan Feng's wonderful description in the article "Good Sound":
"The Prince's Revenge" is not Qiu Yuefeng's masterpiece, it was translated in 1958, he is not mature enough, and he also plays a small role.
"The Prince's Revenge" is Sun Daolin's masterpiece. The achievements achieved by Sun Daolin in the dubbing of this movie can be said to be unprecedented and unprecedented, and even he himself has not been able to surpass.
Hamlet, voiced by Sun Daolin, immediately became the standard material for training accents in the entertainment industry, which in turn had a potential impact on the tone of speech of the people of the whole country from now on.
How big this impact is, you only need to listen to the accents of sports commentators such as Song Shixiong, Sun Zhengping, and Han Qiaosheng.
Sun Daolin is not an actor in the Shanghai Film Translation Studio, but only temporarily seconded to use it, probably because the translation factory felt that it was a blockbuster like "The Revenge of the Prince", and they themselves were a bit overwhelmed by the fact that many famous actors had given the translation and production of the film, like Zhang Ruifang with Natasha in "Idiot", and Shu Xiuwen with Anna in "Anna Karenina".
The technique of singing has the so-called head cavity resonance and chest resonance. I think that if the dubbing also has such a division, Sun Daolin should be regarded as a head cavity resonance school.
His pronunciation is high, his pitch is high, and when his breath is pushed to the extreme, there is a hard golden stone quality, which is agitated and exciting.
Sun Dao's Hamlet is dashing, handsome, noble and by no means kitschy. On this tone, various emotions ebb and flow, up and down, and it is deafening.
From the doubts and sorrows of the first appearance, to the compassion and anger after the ghost confession, the sneering irony when pretending to be crazy and stupid, and the vast thoughts of the seaside monologue, he can hold the fire, wonderful to the point of no turn, showing amazing rhythm and emotional control, and his professional skills and qualities are unmatched in the world.
Comrade Yan Feng's article discusses the different styles of several generations of dubbing masters, or wears the crown to Hamlet dubbed by Sun Daolin.
1958 was the year of the "Great Leap Forward", false numbers flew everywhere, and it was precisely in that year that the pinnacle of dubbing was born, without a trace of pompous wind, completely complete, word by word, sentence by paragraph, created by the voice master Sun Daolin - "almost approaching the limits of the charm of the human voice".
The above text is excerpted from "Dream Album One My Film Memory"
Enjoy a clip from Revenge of the Prince: Life or Death?
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