"Knife Line in the Snow" is a standard and accurate cool text, giving people a sense of pleasure.
The story is also not complicated, telling the story of a teenager who has changed from weak to strong, hiding the clumsy and skillful growth history, the history of power and conspiracy, and the history of his family and country.
However, the prologue of "The Knife In the Snow" is not very attractive, but there are some chicken ribs, if it is not the climax of the back, I am afraid it will become a third-rate reading.
It was not until Xu Fengnian's second trip that the story of "Sword Line in the Snow" was completely unfolded.
Later, there were battles and wars between Western Chu, Northern Starling, Beimang, and Liyang, including political battles, official fighting, infighting, state-to-state fighting, ethnic fighting, and official-Tianzi fighting.
It also covers the parts of chivalry and immortals, after all, the immortal system.
Xu Fengnian has experienced the rivers and lakes, made friends, quickly took revenge, killed one person in ten steps, did not stay for thousands of miles, whisked his clothes away, and hid deep in his name.
Start with Xiao Er, the free release of the wine, end with the liberation of the wine, idle through the Xinling Drink, take off the sword and knee front, will scorch Zhu Hai, and hold the praise to persuade Hou Wei.
This is the rhythm of the original work, very slow, after being adapted into a TV series, how to let the audience endure this boredom?
Screenwriter Wang Tian's adaptation method is very flattering, he knows that the wonderful part of "Knife Row in the Snow" is in the back, and the front is only the introduction.
But the audience is lazy and picky, it is difficult to endure until the climax comes, once you can't see it, it is useless to let it go wildly.
Therefore, he cleverly writes and flowers, so that the early plot becomes witty and humorous, more funny and funny, so that the audience can enjoy the fun of entertainment without using their brains.
For example, Xu Fengnian and Lao Huang's teasing has contributed most of the laughs, comparable to the handsome version of Guo Degang and Yu Qian.
Xu Fengnian pretended to be a Chu and, in exchange for their sympathy, escaped from the hands of the remnants of Western Chu and hurried back to Lingzhou to avoid another incident.
It just so happened that the horse they had mortgaged to the farmer appeared in front, Xu Fengnian secretly rejoiced, and suddenly the remnants of Western Chu rushed out and held them, and the atmosphere instantly became tense.
Xu Fengnian thought that the Chu people had seen through their tricks and specifically chased after him to arrest him.
The Chu people held him down and said to him, "Xu Fengnian", Xu Fengnian was stunned for a moment, and asked a question, "Xu Fengnian?" ”
Confirming that they did not know that they were Xu Fengnian, they threw out a sentence of "Xu Fengnian is a horse", and Lao Huang followed up with a sentence of "too unexpected".
After this singing and coming out, it not only resolved the crisis and cleared itself, but also amused the audience, killing three birds with one stone, and there are many similar bridges.
With this layer of preparation, when the Beijing white-clad case slowly unfolds, the plot is on the right track.
Those audiences who were retained by light comedy at the beginning gradually became fascinated by the plot and became loyal audiences, no longer pursuing a laugh.
This technique of first suppressing and then promoting, before in "Qing Yu Nian", Wang Ti has used it, which belongs to the mastery and is accepted by the audience.
In addition, the live-action shooting of the vines, the ancient road and the wind chime pavilion in the play is comfortable.
Coupled with the picture of the ink wind, the whole is permeated with a "Don't listen to the sound of the leaves beating through the forest, why not groan and walk." Bamboo cane mango shoes light victory over horses, who is afraid? A cloud of smoke and rain is a life of peace" of the jianghu qi.
This light Chinese style has attracted a good feeling, although it is still not exempt from the traces of formalism, but it is not easy to pay attention to the aesthetic ideas in Chinese elements.
Similarly, "Knife Line in the Snow" lacks the common problem of domestic dramas.
Learned to respect the audience, let the drama take over the ground, no longer the same Abao color filter in the past domestic dramas.
Without the soft polish, the character's white tenderness and beauty have indeed dropped a notch, but the feeling of looking very comfortable is pleasant to all sentient beings.
This kind of man is a man, a woman is a woman, ugly is ugly, beauty is beauty, and the angular reality of the role is the way to go in the future domestic drama.
Instead of the wholesale face of tender skin whitening, one by one spotless, fair skin, blown bombs can be broken, and the dim cabins cannot cover their whiteness.
In terms of clothing, "Knife Line in the Snow" is not like the previous domestic drama, all white gray black.
In recent years, costume dramas are all a style, women are equipped with white clothes, men are slightly better, there are white, black, gray three colors for selection.
"Knife Line in the Snow" also has this problem, but there is no large-scale use, and the costumes will be changed according to the scene, so that the audience can see the coarse cloth linen and rags that have not been seen for a long time.
In terms of character modeling, "Knife Row in the Snow" is not all ctrl+c and ctrl+v.
In the previous costume dramas, the main actors seemed to offend the stylists, no matter the vicissitudes, they would never change.
Men are all tied hair crowns, women are all figure eight, even if they suffer and suffer, the hairstyle will not change, strong like Lin Junjie's iron bangs.
And "The Knife Line in the Snow" avoids this problem, the single fishing scene, Xu Fengnian's green bird, sweet potato, ginger paste, three people three kinds of shapes, from the character modeling can distinguish the character personality.
In terms of acting skills, "Knife Line in the Snow", which brings together three generations of actors from old, middle and young, has pleased the audience.
When everyone watches the drama, they finally don't have to endure the animalistic vegetative people who have no acting skills to speak of, laughing is hahaha, crying is wow wow.
Rong Zishan, Zhang Ruoyun, Hu Jun, plus Yang Haoyu and Li Gengxi, although not the most advanced, but everyone has acting skills, there are good opponents to carry, naturally there will be good performances.
Not to mention how finely "Knife Row in the Snow" is, at least it can be seen, at least it has no modern taste.
At the very least, it's not the same, a miserable white face carved out of a mold, exactly the same wholesale makeup and cheap clothing on the same assembly line.
In fact, the audience does not want much, a little snack can be.
Hou Hongliang, the owner of Noonday Sun, once said: "Today's young people have higher requirements for watching dramas, because they have been influenced by American dramas, British dramas, Japanese dramas, and Korean dramas.
I hope that the domestic film and television production standards will improve accordingly, no matter which genre, they feel that their IQ is respected, and I believe they will accept it. ”
One of the things that is particularly important in this sentence is that "IQ is respected."
However, many directors ignore this point, always trying to find ways to show us some xiang-like things in a different way, which is simply like a fish in the throat, like a thorn in the back, like a needle felt.
We won't like such works, but they will be satisfied, because they make quick money easily and drum up their pockets as desired.
This is the laziness of practitioners, which has created a lot of rotten domestic dramas.
This kind of evil style cannot be encouraged, otherwise the showbiz circle is full of black smoke miasma, and then don't blame the audience for being sublime, because you yourself have driven away the audience who loves you.