Wen | Ling Fox Bo Guang
The domestic film and television dramas in the last month of 2021 are really called "a place of chicken feathers", and the TV series from "Female Psychologist", "Wind Rises Luoyang", "Snow In the Knife Line", "Xiao Minjia" can not be said to have poor results, but it is indeed controversial. And "Ebola Front" and "Win or Lose" are tepid, the only small fire is "Love is Delicious" and "Opponent", but these two dramas are small cost dramas, anyway, at the end of the year, there is no mid-year "Sweeping Black Storm", "Mountains and Seas" at the beginning of the year, "Awakening Years" and other episodes.
Domestic movies are more bizarre, and the best box office performance is that the quality and evaluation of "Manslaughter 2" are average. But because there is an understandable foreshadowing of the previous work, and there are two movies with good reputation at the same time, but the box office is just around 200 million, the difference is that one has caused discussion about Chinese cultural phenomena, and the other is tepid.
That is Shao Yihui director and screenwriter, Xu Zheng, Ma Yili, Wu Yue, Ni Hongjie, Zhou Yemang, Huang Minghao, Wang Yinglu, Ning Li, Zhang Zhihua, Wu Mian and other starring in the movie "Love Myth", Douban score of 8.3 points, and "Lion Boy" score is exactly the same, but the box office has just broken 100 million, with the release of "Sweeping The Black Storm 5" and "Embracing You Through the Cold Winter", the box office of this movie seems to be like this.
Dialect persuasion, the story plot is too bland? Do you understand The Myth of Love?
"Love Myth" can be easily understood in the high score and high reputation of Douban, that is, in addition to media operations, like "Lion Boy", it hits Wenqing-based Douban users. Think about why "Lion Boy" can be evaluated with high scores, in addition to the controversy of modeling, the reason for the high score is that the production is good, domestic animation has finally come out of the mythological theme, and the theme and life are closer to reality.
Note: Although the male protagonist of the ending won the Lion King and went to Shanghai to work, now there is a lot of criticism on the Internet for the ending of this movie (it is said that the Lion King is not difficult to find a job and can work in Guangdong), but this has always been one of the important reasons for the early word-of-mouth of this movie, they gave the reason that the small town teenagers completed their dreams, but they could not change their lives and could only go to the big city to work, which is the reality.
If we think about it, the situation of "Love Myth" and this "Lion Boy" is somewhat similar.
China has not had such a type of film for many years, whether it is imported films or domestic films, in recent years, it has been too focused on entertainment and commercialization, including so-called comedies such as Shen Teng, Huang Bo, Jia Ling, etc. Who, their films are focused on comedy, far from reality, either crossing or aliens, superpowers, nonsense atmosphere dominates the comedy big screen, and light comedy and humor films that are relaxed and live almost none of them come out.
This is also because it is difficult to shoot life movies, it is too difficult to shoot ordinary life on the big screen, test the skills of screenwriters, directors and actors, and it is extremely easy to fail. Therefore, almost no one invests in this kind of movie, and they love to invest in nonsense, big productions, big reversals and other movies.
"Love Myth" is not to say how niche the film is, but it is also not popular. But with China's economic growth, the number of people in a certain class in China has increased wildly, especially the expansion of the petty bourgeoisie group in big cities, and the ordinary life of this group of people is indeed like that. Therefore, it is not right to say that this film is close to life, but it is definitely not the life of ordinary people.
Not many people in All of China are Shanghainese, let alone live in the first-tier city of Shanghai, right?
The two group scenes in the film, Lao Bai, Lao Wu, the three heroines and the two young people in the back, are such a group, and the little cobbler like Ning Li, the favorite character of many people after watching, cannot occupy a place in this group scene, which is also the essence of the whole movie, telling the audience that the life filmed by this film is this extension.
As for the theme of this movie, it is actually the love within these middle-class petty bourgeoisie, the door is right, and it has not stepped out of the class at all. The theme is very distinct, but also secret, so secret that most people vaguely feel that something is wrong but can't see it, but the movie reflects a distinct theme everywhere, and the three women who may be in love with The old white are never out of the circle, they are all people of this class.
Love is not a myth, love is reality, only Lao Wu's fantasy is a myth, this is the theme of the movie.
Good reputation, all-star lineup but box office is not good? What did Love Myth do wrong?
Why do "Love Myth" and "Lion Boy" have good reputation and high ratings? The former is the life empathy of petty bourgeoisie, that is, what has happened to themselves or around them, which is indeed plain as water but will feel kind. The latter is the real pain in the eyes of the young people, the dreams realized by the young people in the small town cannot change the real life, and the champions still have to go to work.
"Love Myth" is said below, and the expression of "The Lion Boy" is somewhat ironic in social phenomena. That is, the literary and artistic works that expose the scars at the bottom, in the end are they literary and artistic works for the people at the bottom to see? Many intellectuals and wenqing said that this work reflects reality and is written for the working people at the bottom, and as a result, the people at the bottom will not listen to these songs and watch these movies.
It is as if you say that Jia Zhangke's films reflect the reality of a certain Chinese era, and profoundly portray the souls of marginal figures in that era. But Jia Zhangke's films are absolutely bad at the box office as long as they are released, but the people who go to see his movies are fans and Wenqing. Aren't you making a movie of the poor? Why don't the poor look at it?
Is it to blame the poor for not being able to understand themselves? Or is the film only expressing the needs of the poor as the literati think?
The deeper level behind this problem is not discussed, "Love Myth" is not as wenqing's self-touching as "Lion Boy", but the film circles the extension, which also circles the audience group, and the audience who likes this film can neither be a super rich class, nor an ordinary hard-working office worker, but a middle-class petty bourgeois like Shanghai natives. But what does a more general audience look like? The answer is that the working class, who spends thousands of dollars a month, is already so tired that people go to the cinema to entertain, or the pastime of falling in love with the object.
This movie is definitely not a bad movie, but except for the local natives of the protagonists in the movie and some similar classes of audiences. Most viewers certainly don't like this kind of movie, either they don't understand it at all, or they can't receive valid information, let alone bring entertainment.
This movie feels that it can not be regarded as a comedy, basically not funny, the words of love are Xu Zheng's kind of love story of Shanghai indigenous middle-aged men. I think according to the time is a matter of the last century, how many urban residents in China at that time, the vast majority of them are farmers, and there are no middle-aged and elderly audiences. After 2000, it was the generation of migrant workers, and after 2010, it was the generation of mortgages.
These two generations of audiences are the main body of the current Chinese audience, and I believe that they cannot empathize with it.
The protagonist is a middle-class Shanghainese who owns a house and is idle at work. The three female protagonists also seem to belong to the middle class and above. Rich women don't talk about it, in short, they don't have to work overtime. That old Wu was too, very idle. All the characters in the whole movie cannot be said to be like castles in the air, but they are disconnected from the life experiences of the vast majority of the audience, and the characters cannot give real life information.
It seems that in the end, I don't know what the situation of the rich woman is, why is there money? What happened to my husband? What does Lao Wu live on? Why is there a free house to live in? Even if it is a small white face at this age, this treatment is too good. There are also many details of life in the movie, the glamorous beauty of foreign stars at that time, the foreign way of life in today's Chinese still seem to be very small and the handling, etc., these so-called high-level, fine or not are not the most important.
The biggest problem with "Love Myth" is that the vast majority of viewers can't empathize with them, and they can't even like these characters, let alone have any touch on this story and plot, which will naturally affect its actual box office, because it is good, and the reputation that gives it a high score is always a small number of people, and it has not spread to the public.
The box office broke 100 million in the 10 days of release, and this Douban carnival movie could not become "Fanghua" and "Li Huanying"
The above content may be considered by many viewers to be isolated from the content expression of the film and the public, but the answer is actually not. Film and television dramas have long been entertainment products superimposed with various elements, and in addition to a very small number of unpopular themes in this content expression, most of the content may not be able to be obtained by ordinary audiences, but you have to superimpose the elements that the public can empathize with, or that can be entertained, or can still be sold.
Those commercial special effects blockbusters are not examples, let's look at the same life emotional films, "Fanghua", "Charlotte Troubles" and "Hello Li Huanying" The content expression is very similar, how many ordinary audiences have experienced the life of the literary troupe of "Fanghua"? "Charlotte Troubles" The crisis of middle-aged family life in the last century? "Hello Li Huanying" The third-line construction of northeasterners to Hubei is very far away for young people.
Both "Charlotte Troubles" and "Hello Lee Huan Ying" have strong comedic elements. Comedy and is one of the most decompressing, entertaining and entertaining entertainment products for the audience, which is universal in any country in the world, and Li Huanying's maternal love and the regrets of the elder mother obviously exceed the middle-aged emotional crisis and high school emotional regrets of "Charlotte Troubles".
The life of the "Fanghua" literary troupe is strange to young audiences, but it uses the fate of the male and female protagonists and the war to tell the historical situation of that generation, which is very controversial in China but has always had a market, because many historical events had too far-reaching effects on China. Young people can understand the historical events of the previous generation, and middle-aged and elderly audiences can relive the historical memories of that era.
Even, we are purely from the perspective of the commercial elements of the film, many audiences enter the cinema, and may even simply want to see the thighs and youthful bodies of a group of young actresses, and then to the war scene that is still quite wonderful, right.
These things "Love Myth" can be said to have none, it is just a very narrow expression of the Shanghai middle-class mid-life crisis of the warm film, the box office is not good is very normal. As for "Lion Boy", if it is not the modeling problem that expands the controversy, the big explosion cannot be a small explosion or there is still a chance, and the result will not be mentioned much.
Finally, I hope that domestic film and television dramas are getting better and better!