At the end of 2021, the most anticipated "Knife In the Snow" finally started on December 15, and after watching 6 episodes in a row, it was really "unexpected", making it difficult to say a word!
What about good martial arts dramas?
Xu Fengnian, played by Zhang Ruoyun, a young master who calls himself "the first in the world", and does not know martial arts, the opening 6 episodes were assassinated 3 times by the master, unscathed, the previous second was the ragged world's first cunning, changing into a brocade costume can be carefully reasoned to examine the prisoners, the second becomes high in the world, and the red face has many confidants, a few episodes down, there are inadvertently received a few "harems", it is not too much to call the North Starling "Wei Xiaobao".
A return is the existence of the king, Zhang Ruoyun's protagonist is also too "highlighted"! Of course, this is true, according to the original character design and plot, it should be so.
But the Xu Fengnian in the play is no longer the "Xu Fengnian" in the reader's mind, and the ginger mud is not the ginger mud, and this river and lake are not the other rivers and lakes... Everything seemed to have changed.
As a martial arts drama, the fighting action is outrageous.
Especially that kind of "slow motion", a light jump, has flown to a height of more than ten meters, without drawing a sword, a hand blink of an eye, seven or eight fell at the same time, is this a martial art or a fantasy? I thought it was the rebirth of "lonely and defeated".
I know what kind of artistic conception the director wants to pursue, but the artistic conception does not mean that it is necessary to slow motion + 0 moves, if it is both mysterious and martial arts, what is the final presentation? Using martial arts as a disguise to shoot fantasy dramas?
The so-called martial arts, the action is real, ethereal and agile, flowing clouds, why do directors who make martial arts films today never know that everyone likes crisp and clean action scenes? This is not an isolated phenomenon.
It is not that the actors are not good, but the director's skills are not enough, and he wants to create the jianghu artistic conception of "Crouching Tiger, Hidden Dragon", but he adopts the shooting method of "Generation Grandmaster", likes the realistic style of the opening, Hu Jun's facial close-up is too ancient monarch temperament, but a large number of slow motions in the play, not in place Martial Arts dragged down the level of the entire play, which can be described as more than worth the loss.
It's all special effects, there is no "martial" where "hero"! Today's martial arts dramas are not as good as the level of the last century, and part of the reason is that the actors, not the new idol drama male and female protagonists, think of the former martial arts actor Jet Li, Zhen Zidan, Wu Jing, Jackie Chan, Hong Jinbao... Which one is not a kung fu "superstar"?
"Knife Line in the Snow" also has a fatal "failure", that is, a filter that makes people look extremely uncomfortable, which can be called "green mirror", I don't know if the producer designed the entire screen to be dark green, too "hades", a little scary, unlucky feeling.
The last time I saw this dark green filter was still in the witness, but people are expressing a gloomy atmosphere, highlighting the suspenseful plot, but this drama is a martial arts, it should highlight the taste of "evil as a vendetta, happy jianghu", action drama and costumes and atmosphere have not been able to shoot the sense of unpredictable jianghu in the chaotic world.
It is good for the director to take the sword and not take the usual path, but it is also necessary to seek truth from facts, respect the original work, and respect the audience!
Starring Zhang Ruoyun, always feel that he is still a little too strong, you can see that he has tried his best, the performance and role in the play are even confusing Xu Fengnian and Fan Xian, I don't know if everyone has this feeling when chasing the drama, that is, Zhang Ruoyun is good at everything, but it is not Xu Fengnian.
The heroine Li Gengxi is not amazing, nor is it that kind of cute little girl, not "fairy", not so eccentric, from the performance of the play, even too obvious, wearing a night suit to assassinate Xu Fengnian that section, it seems like a joke, always feel that Li Gengxi's temperament is not suitable or can not support the heroine.
The only eye-catching role is the Nangong servant played by Zhang Tianai, in the play, Zhang Tianai's modeling is really stunning, white clothes fluttering, fresh and vulgar, she does not have to speak, the corner of the mouth a glance is the face of the white fox, a scene of ancient style and rivers and lakes, reminiscent of Lin Qingxia's "Oriental undefeated", but the same is a jianghu master, compared with Lin Qingxia, Zhang Tianai lacks a bit of knifeman's cold temperament.
It is worth praising Hu Jun, worthy of the old drama bone, Xu Xiao, played by him, especially in the opening, has a feeling of a tyrant, remember the "Qiao Feng" he played and the "martial peak" god man in "Will Night", it is also the same pleasure, but in this play he is more like a scheming layout person, everything he does is for the stability and clan of Beiliang, the first time he played with Zhang Ruoyun, it made people feel surprised, kind-eyed, put down dignity, staged a son playing daddy, and suddenly the sense of comedy doubled.
Although the character image in the play is not in line with the original work, but the essence of the character can be grasped well, you can also see some jianghu feelings and chivalrous spirit in it, I thought that this "Snow In the Sword Line" can be comparable to "Qing Yu Nian", it seems that the difference between the two is far away, there is no comparison.
Readers who have watched "The Knife In the Snow" know that the original book is fascinating at the beginning and goes straight to the theme, but the play may be too detached from the original work, and the essence of it is not well expressed, jumping over, making it difficult to enter the play.
To take the most classic example, Xu Longxiang came to pick up his brother, the two have not seen each other for three years, the novel is because Xu Fengnian has seen the cold and warm in the world, only his naturally stupid brother will always have the most unscrupulous smile and sigh at himself, and then he has a classic sentence "Little two, on the wine!" ”。
The emotional expression here is very strong, but the play is completely ignored, just ask the director: do you understand the weight of this sentence "little two, on the wine"? The plot is also sparse, deliberately trying to create some light atmosphere, and the result is only witty.
Claiming to be "King Fried", where is the sincerity of "Sword Line in the Snow"? If it were not for Zhang Ruoyun and Hu Jun's support, it would have been "abandoned", think about it, this responsibility can not all be pushed on the director, after all, the original author wrote too cattle, adapted into a drama is not so simple.
I can only say that a good drama does not mean that actors with capital, strength, fame and good appearance can succeed, for some actors, I would like to say that it is one thing to have resources, and it is also another thing to have self-knowledge. Leaving aside the original work and the actors, what pulls down the whole play is a variety of details, scenes, atmosphere, special effects, martial arts instruction, from this point of view, none of which is a pass.