Zhou Xun, who is not from a science class, takes every director as a teacher, treats every crew as a school, and with his own talent and diligence, wins almost a full slam of film queen awards in the Chinese film circle
At the end of the year, looking back at this year's TV series creation, "Xiao MinJia" has become a hit of the recent life stream TV series, and once it is online, it will dominate the hot search on the screen. At first glance, this is another group portrait of a "small" series, focusing on family, life, education, and intergenerational problems between two generations, but this time, the focus of "Xiao Minjia" is completely in an actor you did not expect: Zhou Xun.
"Xiao Min Jia" - Zhou Xun and Huang Lei will cooperate again in 20 years", people who were touched by the two famous TV series "April Day on Earth" and "Orange Red" at the beginning of this century at the age of youth and ignorance, it is probably difficult not to be attracted by this slogan. Whether this pair of screen CPs from 20 years ago can spark again has become the biggest selling point of "Xiao MinJia". Usually, we will think that Zhou Xunsheng is a face acting in a movie, in the steaming, short-flowing family drama, whether it will appear unsatisfactory, whether Haiqing is more suitable for this theme, many people have doubts in their hearts.
Our fears proved to be somewhat superfluous. Zhou Xun's performance is wonderfully messed with the plot of "Xiao MinJia", which produces an interesting chemical reaction, and some people even think that he has found a way to open the middle-aged idol drama.
Her performance gives the characters a subtle and complex temperament, making up for the flaws of the plot
Because of a very rich crying scene contributed by Zhou Xun in the play, Xue Jianing praised online that "Zhou Xun's performance is too advanced" on the hot search. Immediately after, Ni Ni also posted her experience of chasing the drama on her Weibo - "The drama is so good- The feelings of the two peers aptly point out the relationship between Zhou Xun's performance and the slightly awkward plot of "Xiao Min's Family".
"Little MinJia" is a family ethics drama based on Ibei's novel of the same name. The play analyzes the emotional relationships in contemporary society through the different attitudes of the three generations of old, middle-aged and young people to their feelings. The story begins with the underground love affair between the heroine Liu Xiaomin and the male protagonist Chen Zhuo, who will be suddenly broken by his son and mother. In this drama, we can see two divorced middle-aged men and women supporting each other and moving forward hand in hand, and the difficulties faced by their love in assuming social responsibility, and the warmth that erupts in the process of mutual healing.
Family ethics drama takes the family as the narrative unit, with the help of the development, change and conflict of one or several families in a certain period of time, reflecting certain emotional problems and ethical dilemmas. In recent years, some family ethics dramas, such as "All Is Good", "Little Shed", "Children of the Qiao Family", etc., are quite popular with the audience, but there are also some works that have aroused heated discussion and criticism because of the strange emotions of the plot. This time, "Little Minjia" is also suspected of "dog blood" in the construction of the story, and the rating has gone all the way down from 7.5 points to 6.7 points after broadcasting, which fully explains the problem.
It can be seen that in the plot design, "Xiao MinJia" stacks together some extremely low probability things in real life and things that cannot symbolize the universality of life. For example, "Huang Lei" and "Qin Hailu" are a divorced couple, and "Zhou Xun" and "Qin Hailu" are small. As a result, "Zhou Xun" and "Huang Lei" began a relationship. To borrow the saying of zhiyin body: love can't be stopped when it comes, and I fell in love with my girlfriend's ex-husband. Not only that, the son of "Zhou Xun" and the daughter of "Huang Lei" are still studying in the same college entrance examination repeat class, and this tutoring institution is opened by "Qin Hailu" and her current husband, and the two young people have also talked about love. At this point, Xiao Min's family is bustling, which means that Xiao Min's stepdaughter is also her future daughter-in-law... This is not the end, "Zhou Xun's sister - Tang Yixin", was secretly in love with "Huang Lei's" nemesis for more than ten years, and after her first marriage flash marriage, she fell in love with a handsome rich second generation... Another endless love triangle.
After half a day of retelling, it can be seen that the relationship between the characters in "Xiao Min's House" that is constantly rational and chaotic is the condition for the dramatic conflict to unfold. In the next plot development, the audience will soon see that "Huang Lei's" father has also come to Beijing and has a good feeling for "Zhou Xun's" mother... It can only be said that as the chief screenwriter of the play, Huang Lei, who has been rolling in the film and television circle for many years, is well versed in the golden law of family ethics drama: the more complex the relationship between the characters, the more intense the conflict, the more topical, and the stronger the adsorption to the audience. This kind of structural method of stacking various relationships together, although it is suspected of "opportunism", is indeed tried and tested, and it is very useful!
At the same time, we can also find that "Little Minjia" is not the same as those pure "dog blood" dramas. Why? From the existence of Liu Xiaomin, played by Zhou Xun, in the play like a needle in the sea god, it can be seen that although the conflict of this TV series is strange, in the final analysis, it is still quite desirable to reflect the heroine Liu Xiaomin's choice, response and breakthrough in the predicament.
First of all, we rarely see such a middle-aged female figure on the screen. Liu Xiaomin, portrayed by Zhou Xun, subverted a stereotypical image of domestic dramas - divorced women. When she was young, she had a failed marriage, but she stopped the loss in time, went north alone, worked hard in Beijing for many years, became the chief nurse of a beijing maternity hospital, and earned a decent life for herself. "Independence" is a very important keyword in Liu Xiaomin. Not only that, she did not give up the opportunity to continue to improve herself for a moment. Although his son re-read for the qinghua examination, Liu Xiaomin was neither a chicken nor anxious. She enjoys life after her diligent work, makes herself beautiful at any time, and no matter what bad things she encounters, she will not choose to be an "ostrich"... In the character of Liu Xiaomin, there is actually the appearance of the kind of middle-aged people we long to live: calm, rational, assertive, self-loving, calm, not emotional... Once upon a time, we saw the same female image in domestic dramas, especially after becoming a mother, we always chose to be for the family, for the children, for the dignity... Sacrificing her love, career or future, as if this is the only way to open, is the right way for a middle-aged woman to open, only Xiaomin chose to live for herself. This is a breakthrough in the shaping of female images in this work.
Since such a female image was written, who would play it became the key. 47-year-old Zhou Xun, the aura is still there, the coolness and distance of the literary and artistic fan is still there; more importantly, as an actress, everything she has experienced is not only written in the wrinkles of the corners of her eyes, but also makes her grow a steadiness and composure that she did not have when she was young. These two very different temperaments are rarely integrated into an actress: the unworldly clarity and the heat of human fireworks; the idealistic indifference and the daily life of chai rice oil and salt, which have been a very perfect combination in Zhou Xun. This makes the little Min she portrays vivid, agile, touchable and cute. It is hard to imagine who else but Zhou Xun can give such a subtle and complex temperament to the character.
This may be the meaning of Xue Jianing's "sense of superiority": Zhou Xun's role is not only to serve the characters, but also to calm the boiling created by the plot of strange emotions with cooling power. The cold breath on Zhou Xun's body and the plot of chicken flying dog jump just form a tension, which not only makes up for the flaws of the plot unsatisfactory, but also makes the entire TV series slowly grow humor and open-mindedness in the reality of "one place chicken feathers, one defeat" at first. Therefore, Zhou Xun's irreplaceability lies in effectively making up a crucial piece of the slightly regrettable play and enhancing the style of the whole play.
Speaking of which, Huang Lei knows Zhou Xun better. At that time, Huang Lei said a sentence after filming "Orange Red": When he leaned against the door to smoke, Zhou Xun just walked over and stood next to him silently, and his heart seemed to have lived a lifetime. From Huang Lei's expression, it can be seen that he likes Zhou Xun from the bottom of his heart, and the two cooperation between Huang Lei and Zhou Xun in "Orange Red" and "April Day on Earth" can be called classics, which also confirms that the "ancient CP" in domestic dramas is not the only one of them. There is a past incident, Huang Lei mentioned and mentioned: On December 31, 1999, at the turn of the century, "April Day on Earth" was in the propaganda period. On the train, Zhou Xun was so sleepy that the radio in the car rang, "In the millennium, who you are with, you will be entangled with him for the rest of your life." ”
When the two of them filmed the farewell scene in "Orange Red", because they were too involved, after filming that scene, Huang Lei had a heart attack and was carried out of the set. He later sighed and said, "Didn't you just spend your whole life entangled?" Unfortunately, the two have not worked together for twenty years since "Orange Red". But the tacit understanding is that in the subsequent acting career, no matter which reporter asked Huang Lei, the actress you have worked with so far, who do you appreciate the most? The answer is always – Zhou Xun. And when the reporter asks Zhou Xun such a question, Zhou Xun will also firmly answer - Huang Lei. As the two said in a variety show: "Although we don't see each other often, we are all together at many key points in life." ”
Time is enough to change a lot. In the past twenty years, Zhou Xun's acting skills have become more and more refined, and time has made her grow into a top actor; and Huang Lei, the "male god of literature and art" who walked and sang twenty years ago, has become a fat man with a wide heart, a broken mouth in contemporary middle-class dramas, a brother in the stove, and a confidant father. Since using the corner of Fang Yuan in "Little Parting" to open up the second pulse of Ren Dou, who is middle-aged, almost all of Huang Lei's characters are repeating Fang Yuan. This time, Chen Zhuo in "Xiao MinJia" is the same, Fang Yuan has the same appearance (smiling with a shy belly), the same class (in Beijing, there is a house and a car, xiao fu is safe), the same personality (can say that the Tao should be recognized when it is time to admit it), a set of mouth-breaking honest and clever combination punches down - properly holding the essence of the little man in the world. However, to say that this kind of role still has to be Huang Lei, from time to time can still be in the oil, salt and vinegar of the little man who can enjoy the wind and snow, is the contemporary middle-class family hostess just need. You want to change into a tall and tall Jin Dong, how to act hard is probably not convincing.
With every director as her teacher, she treated every crew as a school, and with talent and diligence, she won almost a full-scale film queen award in the Chinese film industry
It is strange to say that Zhou Xun's body is always labeled with a lot of labels, such as: the elf of the movie, the goddess of literary and artistic films, the heroine who dares to love and hate, etc., but when you really want to analyze what kind of a person she is, you will find that for such an actress who has been debuting for thirty years, with massive works and countless awards, it is difficult for you to even spy on the whole leopard.
When he first debuted, the aura overflowing from Zhou Xun's body was called "heavenly rewarding food and eating". Crying drama is often a test for young actors, but her tears are like heavenly gifts, and they rush and flow when needed, saying that they can be collected immediately. Zhou Xun seems to be born as the heroine of love tragedies. In "April Day on Earth", Lin Huiyin, who learned of Xu Zhimo's death, closed the door and suppressed the whimpering that could not be suppressed in the dim light, which could not be said to be unpretentious; in "Daming Palace Words", the most moving "Taiping First Sight Xue Shao", when princess Taiping gently unveiled the mask of Kunlun Nu with tears, the painful entanglement of the two people's lives was opened, which can not be described as unmoving...
Li Shaohong, a director who has cooperated with Zhou Xun in works such as "Daming Palace Words", "Orange Red", "Baby in Love", has a very classic evaluation of Zhou Xun, she said that Zhou Xun relies on acting and love to understand the world. Zhou Xun also acknowledged Li Shaohong's claims. When she was a teenager, she grew up in a happy family, acting was her first job, and it was also the beginning of her contact with society, so she always regarded a play as a life experience, and felt the world through the role. Because of her 100% commitment to the role, she is often "trapped" by the role. Li Shaohong once said that actors have several realms, the primary is to act naturally, the intermediate level is to shape the role, the highest level is to show the soul feelings, zhou Xun played "Baby in Love", it was to go to this realm, and finally almost collapsed, unable to get out of the situation in the play.
Falling in love is another way for Zhou Xun to understand the world. Zhou Xun's attitude towards love is unreserved. Zhou Xun, who felt happy in love, once felt that she had grown up, but the illusory love could not save her from "pessimism" after all. It is said that in the second year after the film "If Love", Zhou Xun was still sad to see the frozen river, and she sent a text message to the director Chen Kexin: "The river in Beijing is frozen." Chen Kexin felt incredulous: "She really lives according to the logic of Sun Na (the role played by Zhou Xun in the film)!" ”
Because of this sensibility, Zhou Xun when he was young would sometimes play no difference, even if he saw a cup, he would think of the scene in the movie. Zhou Xun's sensibility also lies in her super empathy, which can resonate with people at the same frequency all the time. In the second season of the variety show "Strange Life", there is a program in which Zhou Xun visits the elderly with Alzheimer's disease in Japan. Petite she fully showed her emotional side in the middle, she could not help but want to explore, "A person, all his life, in more than ten years slowly forgotten, but also forgotten his dearest person, when a person does not even have memories, what is a person? Zhou Xun, who rarely appeared on variety shows, cried seven or eight times in that hour-long program, crying a lot. Very emotional is certain, but now she seems to be difficult to fully summarize with emotion.
Looking back on her journey along the way, this is indeed a rare actress whose drama path spans the fifth and sixth generations, and debuted in the third generation director Xie Tieli's "Tomb And Desolation", and also shines in cooperation with Chinese Hong Kong, Taiwan and international filmmakers, and is also an actress who can control the roles of men and women in ancient, modern, modern and even the future. Coming from a non-science class, she took every director as a teacher, treated every crew as a school, and won almost a grand slam of film awards in the Chinese film industry with her own talent and diligence.
In an interview, Zhou Xun mentioned a past event. At that time, at the filming site of Chen Kaige's film, Zhou Xun quietly observed the scene where Gong Li pushed mahjong with his hand. Only then did she realize that the original hand could also act. The set was very quiet, everyone was concentrating on filming, and no one was chatting casually. It can be said that it was the rising sun in the 1990s of the last century, and a group of predecessors who led the way, providing Zhou Xun, a person who had never been trained in acting, the possibility of becoming a powerful actor.
In the film "Li Mi's Conjecture" with director Cao Baoping, Zhou Xun played a female taxi driver, whose lover left for four years without a message, but the letter was sent in a seal, and the confusion and thoughts made her soul unstable. You know, in 2008, Cao Baoping was still an unknown small director, Deng Chao, Zhang Hanyu and Wang Baoqiang were just beginning to show their sharp edges, and Zhou Xun was already a film queen with several awards. Cao Baoping took the book of "Li Mi's Conjecture" to Zhou Xun, and Zhou Xun said after reading it that he could reduce the salary to play the heroine of this small-cost movie. In this movie, she changed her playful image in the past, facing the sky, everyone who sat in her car in the film listened to her god nagging; when she saw the shadow of her lover on the street corner, she desperately chased after it, and hit the front of the car without stopping; her hair was messy like a madman, and the makeup artist wanted to make up the makeup, and she suddenly knocked people over. Cao Baoping said, "She really lived herself as Li Mi." A scene in which Li Mi finally sees Fang Wen (Deng Chao) is the climax of the whole film - four years of incomprehension and grievances, which suddenly erupt at this point. Deng Chao looked at Zhou Xun and cried and laughed, and after filming, he squatted alone in a far distance and shivered... With "Li Mi's Conjecture", Zhou Xun won the Golden Rooster Award for Best Actress, officially becoming the first Chinese film "Three Golden Film Queens". She is a standard experiential method, relying solely on the strength of a moth to put out the fire, using the way to hollow out her body and feelings to shape the inner spiritual atmosphere of the characters.
In 2014, the famous director Zheng Xiaolong prepared to shoot the TV series version of "Red Sorghum", and asked Zhou Xun to play the role of Jiu'er, who was spicy and bold. That year, Zhou Xun was 40 years old, violating the TV screen for more than ten years, with Gong Li's film version of Zhuyu in front, and the challenge was not small. In the end, Zhou Xun once again completed the role modeling excellently, and the nine children she played were wild and agile, dared to love and hate, were not bound, and there was still a full sense of girlishness between her hands and feet. After the drama version of "Red Sorghum" was broadcast, it not only refreshed the ratings again and again, but also allowed Zhou Xun to win two awards in one fell swoop, the Magnolia Award for Best Actress and the Huading Award for Best Actress in China's Top 100 TV Series.
In the last episode of "Ruyi Zhuan", Zhou Xun's performance is particularly impressive, Ruyi recalls the past under a tree, her eyes look upwards as if breaking the air, "the wall head immediately looks at each other, and the intestines are broken at first sight" At that moment, she interpreted a mixture of feelings. Although, at the age of 44, zhou Xun starred in "Ruyi Chuan", Zhou Xun was questioned about her ruyi appearance as a teenager, but soon, her solid acting skills conquered the audience.
Today's Zhou Xun rarely can no longer distinguish between drama and life as when she was a little girl, and cannot be withdrawn from the role. She chatted with her friends at dinner, talked about the "Lan Yin Fruit" that Ruyi finally said to her lover, and had realized that "when people reach a certain age, they are reconciled with themselves in continuous farewells, just like peach blossoms will disappear after the summer and cannot be retained." Speaking of which, there is a kind of understanding in it. But the maturity brought about by this understanding is not necessarily a farewell to naivety for Zhou Xun. In recent years, Zhou Xun has also felt more and more that performance is an art that is deep enough, and she seems to have only touched a corner, and she "hopes that someone can tell me how to break through again." In recent years, she has chosen one of the most "stupid" methods - trying to broaden the subject matter and roles, and explore the boundaries of performance from different dimensions. As a result, we see that in "The Eleventh Time" and "Xiao Minjia", Zhou Xun tried different roles and a rich and layered performance method starting from reality. Some netizens commented that Zhou Xun was meticulous in her observation of life, and there was no trace of performance, she was not performing at all, she was the role itself. Chen Xihan
Source: Wen Wei Po
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