Between "The Wind Rises luoyang" and "The Twelve Hours of Chang'an", there are almost 100 "Di Renjie's Heavenly Empire".
Wen | tomatoes
This article is reproduced with permission from Houlang Movies (ID:pmovie_wx)
When watching "The Wind Rises in Luoyang", you will constantly jump back and forth between "Di Renjie's Heavenly Empire" and "The Twelve Hours of Chang'an". So much so that it is not clear whether it is to benchmark "Twelve Hours" or "Heavenly Empire".
That is to say, "The Wind Rises in Luoyang" did not find its own characteristics.
To put it more seriously: the creator doesn't know what he should express in the theme that others have already expressed. As a result, no matter how dazzling the visuals, no matter how exquisite and luxurious the costumes are, and no matter how undulating the rhythm, there is no way to make up for the defect that it does not tell a good story.
What's more, to endure those actors who dare to survive all the plots with one expression, the perception is even worse.
It can only be said that between "The Wind Rises Luoyang" and "Twelve Hours", there are almost 100 "Tongtian Empire".
The starting point is very high, and the landing is very miserable
Huang Xuan, Song Qian, Wang Yibo, Song Yi.
Just from the cast of actors, you can know that "The Wind Rises Luoyang" is very heavyweight.
What's more, it also has a number of powerful supporting characters, Yong Mei, Zhang Xilin, Feng Hui and Zhang Duo.
Not only the actors, the base of "The Wind Rises luoyang" is also worth looking forward to, adapted from Ma Boyong's unpublished novel "Luoyang".
It continues the setting of "The Twelve Hours of Chang'an" with "historical interpretation as the core and the brain hole as the fiction", and takes the murder of a father and daughter who went to Beijing to inform during the period when Wu Zetian lived in the god capital Luoyang as the fuse, involving the revival of the dark organization "Spring and Autumn Road" and its conspiracy to subvert the rule of Wu Tang.
Because of the extreme similarity of themes and contents, "The Wind Rises in Luoyang" is known as the "sister chapter" of "The Twelve Hours of Chang'an".
It can be seen that "The Wind Rises luoyang" is a drama with a high starting point, and it is no wonder that fans will wave the flag and shout some slogans similar to "catching up with and surpassing the twelve hours of Chang'an".
But unfortunately, the slogan seems to have been shouted early.
There are many reasons, but the most fundamental is that the story of "The Wind Rises in Luoyang" is more difficult than the adaptation of "Twelve Hours".
"Twelve Hours" runs through the whole process with a clear main line: the opening chapter tells the audience the core state of affairs, and then uses Zhang Xiaojing and Li Bi to thread the needle, bringing out all kinds of sinister people and bizarre and strange things, and going straight to the mystery.
It cares about the fate of the protagonists, that is, Zhang Xiaojing and Li Bi, in the whole thing.
"The Wind Rises in Luoyang" takes a roundabout route: first let Gao Bingzhan, Baili Hongyi and Wu Siyue be trapped in their respective puzzles, and after six episodes, they are surrounded by a main line, but the conspiracy behind it still seems confusing.
The fate of these protagonists is all hidden under the mysterious conspiracy.
This kind of nuance makes it easy for the protagonist of "The Wind Rises in Luoyang" to drown in the dangerous storyline and become a thorough narrative tool, and it is difficult to establish a deeper emotional connection with the audience.
For example, Zhang Xiaojing in "The Twelve Hours", at first glance, looks at the evil god, but when we see him and his subordinate Xiao Yi for a while, we begin to appreciate his goodness, fragility and softness, and we will be more worried about his fate.
There is also Li Bi, played by Yi Qianxi, who once asked Zhang Xiaojing how to do things, Zhang Xiaojing said "according to his own rules", and later the prince asked Li Bi the same question, and he borrowed Zhang Xiaojing's answer. This allows us to see his keen judgment, ability to learn and wisdom in doing things.
Other characters, such as Tanqi played by Reiza, will also have this characteristic: the characters are not reduced to tools of the narrative, but can establish emotional relationships with the audience.
However, in the content that has been broadcast so far in "Wind Rises Luoyang", only Gao Bingcang, played by Huang Xuan, provides the possibility of letting the audience get closer, while the other main characters always carry a posture of not entering, cutting off the possibility of establishing an emotional relationship with the audience.
The reason for this result, in addition to the slight difficulty of adaptation, lies in the excessive display of the main creator at the level of choreographer, and the actor's crotch pulling in different degrees in performance.
Over-showy choreographer
"The Wind Rises luoyang" is murdered by the informant's father and daughter, which leads to the threat of the "Spring and Autumn Road" to the order of the court.
In order to let the audience feel the big conspiracy from this small incision, the creator is extremely hard at the level of choreographer.
For example, photography uses a lot of film techniques to highlight the sense of lens, all kinds of pushing mirrors, panning lenses, long shots and shooting, and even flying shots... These confusing shots seem to be afraid that the audience will not be able to see the creator pursuing the film texture in the series.
There is also the soundtrack, whether the plot is tight or not, the mood is not in place, anyway, the music can not be absent, an episode of 40 minutes of plot, the soundtrack can account for half an hour, more strong than the lines flooded in the plot.
The classic soundtrack is to make up for the information not provided in the picture.
But in many film and television dramas, it has become a tool for the creator to cover up his narrative incompetence and deliberately incite the audience's emotions.
Of course, the hardest part is the editing.
In order to create narrative suspense and explain the relationship between the characters, "The Wind Rises in Luoyang" uses a large number of superpositions, while explaining the actions and states of the three protagonists at the same time.
But the problem also arises: too suspenseful editing, allowing it to forcibly switch perspective to the daily foreshadowing of another character before each character explains the core problem.
The result is that the situation is not deeply felt, but the information is too messy, resulting in the narrative focus is not prominent.
This can only prove that no matter how much the choreographer team will have, it will not cover up the weakness of the narrative core.
If it is not an iron fan or the requirements are not high, it is difficult to survive until the eighth episode to explain the motivation of Gao Bingcang's character.
The most indebted person to do so was also Huang Xuan.
Huang Xuan, who had no problem performing, was dragged down by the editing.
His character's motives have been interrupted and hidden, causing the audience to be confused that he saw the informant father and daughter killed but indifferent, and then took the initiative to surrender to Dali Temple, and then escaped from Dali Temple to return to the bad well, but the residents of the bad well hated him and even expelled him...
In the absence of sufficient premise, the audience has no logical basis, resulting in the more seriously Huang Xuan performs, the more the character's behavior makes the audience feel strange.
The acting skills are not in place, and everything is in vain
In addition to the choreographer and editing that dragged Down Huang Xuan, there were Wang Yibo and Song Qian.
Although the traffic role of Wang Yibo and Song Qian has been helping "Wind Rise Luoyang" to seize various topics and hot searches from the beginning, fanatical fans have also worked hard to create momentum on major platforms.
But a large flow does not mean that the acting skills are good.
For example, Wang Yibo, although there are 580 million reads in the topic of #Wang Yibo's Wind Luoyang Line Explosiveness#, he is relying on one expression to survive all the plots.
I don't admit that this is a "facial paralysis performance", probably except for fans and Wang Yibo, who are also other artists who are also "facial paralysis performance artists".
Whether it was eating a delicacy made for Bo He's pleasure, or the killer wanting to stab his informant father and daughter to death in front of him, or refusing his father to force him to marry Liu Ran, or even his father dying on the day of marriage, he was an expression.
I have to admit that Wang Yibo really worked hard.
After all, all his limbs were reacting as hard as they could.
After all, when he buried his father, he did his best to shed tears.
Unfortunately, this face is so perfect, perfect enough to be like a thousand years of iceberg, no matter how vicious your eyes are, you can't read more emotions and information.
On the contrary, It is The wife Liu Ran, played by Song Yi, whose emotions have been changing with the changes in the plot.
In order to marry Baili Jilang and his uncle Liu Xiang's reasoning, the sudden change of the wedding red incident into a white affair, the various duties and responsibilities of being the daughter-in-law of the family, and even helping the husband to go back to explore the various wrongs of uncle Liu Xiang.
The image of a noble lady with a high door who seems to be weak but is actually tough is established in these ups and downs.
As a famous "female killer", Song Yi has always had the ability to play the female number two into a "quasi-female number one".
In fact, it is not that Song Yi is strong, but to thank his peers for setting off.
For example, Song Qian, who played Wu Siyue in "The Wind Rises in Luoyang".
Perhaps because she has received the standard training of Korean idol culture since she was a child, Song Qian seems to be born with shortcomings in classical culture, resulting in her two existing costume works, which is always a fashion drama and urban drama texture.
That kind of coldness and arrogance is okay when she doesn't need to be emotional.
But once it is necessary to be emotional, Song Qian will show great passivity.
For example, listening to Gao Bingzhan cry bitterly about his own life, when Wu Siyue cried with him, it was an excellent example.
Although crying is easier to perform than laughing, if the levels are out of order, it will cry ugly.
In order to prevent the bar from being lifted, it is better to ask everyone to look at Feng Hui as a supporting role at the end.
The first scene in "The Wind Rises Luoyang". As the secretary of the Dali Temple, he was responsible for such a large-scale riot and casualties in the territory he was responsible for, and he was to be held accountable, and if he lost his official position, he lost his head.
So at this moment, he is fierce, angry, shocked and scared.
When he was called by Wu Zetian to ask questions, he was left frightened.
What is acting?
This is called acting!
The large-scale crotch pulling of the main actors, the excessive force of the choreographer, and the difficulty of the originally bad adaptation have seriously restricted the color and appearance of "Wind Rising Luoyang", making it a second-rate work with the same theme and the same type of brother works.
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