< h1 class="pgc-h-arrow-right" > talk about dubbing</h1>
I have always wanted to talk about dubbing, which is different from what we Xiao Cui said, there is not so much sense of responsibility, mission or vicissitudes, just a little bit of cluttered feelings of a most ordinary dubbing enthusiast. It may be that different people have different voices, but I think that those real dubbing masters may care more about the eternal nostalgia in the hearts of the most ordinary dubbing fans.
As a student in the seventies, my impression of dubbing is of course from the upper translation, the long translation from those Japanese films, British films, Soviet films, not Albanian films, Korean films or Romanian films, those should be a little earlier than us, and even earlier from "The Bridge" and "Lenin in 1918", each era will have different memories, clear and not chaotic. Where did my memory begin? If you think about it, when I was seven or eight years old, I watched "Wangxiang", "Witness" (the "Straw Hat Song"), "Zorro", "Lone Star Blood and Tears" (it seems to be the old version, black and white film, I vaguely remember the terrible appearance of the old virgin Ha weixia and the deep impression left by the window curtain that opened sharply at the end of the film), "Tiger Mouth Escape", when I watched "The Station of Two People" and "The Story of the Office" when I was a teenager. But if you think about it, I didn't really appreciate any superb dubbing art at that time, but I was curious about why foreigners could speak such standard Mandarin and couldn't hear a little unnatural, and I remember that I was very curious to learn what kind of sound people in the play try to make. That's all, even if you listen to the "Massacre on the Nile" that is often left in mp3, you can't care about the twists and turns of the plot at the beginning. Until the summer vacation of the year when I was 18 years old, I listened to "The Prince's Revenge" on the radio, and I was stupid after listening to a few sentences, to be precise, I was shocked by the momentum of Sun Daolin's dubbing (I thought it was Tianqi!). ), immediately recorded this precious sound with a tape recorder. I have listened to it many times, and once even shed tears (I have never cried just by listening to the sound, and then I cried for the narration of Azaki Po in "Wangxiang", but the feeling is completely different), I have never dared to try to read those lines myself like many people, because I feel that these words can only be interpreted by Prince Hamlet in my mind, Sun Daolin, and there is no one to mention, no! Whoever said it was all Dong Shi Gong. Pretty stubborn, right? It seems that when someone talks about dubbing, the first person in his heart is always Qiu Yuefeng. But in my mind, it can only be Sun Daolin, always "The Prince's Revenge", because I really can't think of anyone who can be like him, from temperament, voice to soul, everywhere does not fit in with this noble role.
In fact, I don't think that all the films can only be translated and matched by the above, although I have thought about it in the past, and later I think this idea is really like a frog at the bottom of the well. For example, "Two People's Station" I have heard of Cao Lei's version, I can only say that it is possible, if there is no pearl jade in front, it may be acceptable. But it is far from the Li Zhen version. Li Zhen's voice has an unspeakable style, if simply said is to occupy a "spicy" word, the voice is light and sweet, the style is very diverse, this sound trait is rare, not the "golden oil" voice can be easily imitated, and listen carefully to the heroine she shaped, the voice level is very clear. From the perfunctory coldness shown at the beginning because of strangeness, to the kind enthusiasm in the language when familiar, and finally the voice transitions very naturally to clinging to each other, lingering and compassionate, and the voice shape is impeccable. The male protagonist in the play is played by Sun Ao, his tone is originally gorgeous, specializing in intellectuals and nobles, this time with an honest and honest and true love of the down-and-out pianist, it is also particularly appropriate. There is a line that has a peculiar taste that I always remember - "How to test, is it... Also..." Hilarious. The voices of the two of them are a good match in this film. In fact, originally Sun Ao and Xiang Junshu matched the most, it should be the original long translation of the male and female number one, leaving an immortal version such as "Butterfly Dream", but in this film, Sun and Li's collocation is more fresh, from the sound texture of the sound can clearly distinguish the social status of the two, very comfortable and tasteful. In addition, Li is really a voice actor that I admire very much, and the Fengjie in the 87 version of the TV series "Dream of the Red Chamber" with her can be said to add a lot of color, making Deng Jie's performance more three-dimensional and vivid, and then somehow changed to Chen Erxi, feeling all lost, even making me feel that Deng Jie also acted much worse, very strange, and it is not strange to think about it.
I have always wanted to talk about dubbing stars other than Shanghai translation, there are too many, and those who can't go around the past are Xiang Junshu, Zhang Guilan, Sun Ao, Feng Xianzhen, Yao Xijuan... especially Zhang Guilan, I think she can be regarded as a wizard, she is not only an excellent voice director, but also a good voice actor, and even as a sonorous and beneficial TV film commentator in the Cultural Revolution, she also played an important role in the movie - "Red Sun"; she can match children, such as Xiao A Xin in "A Xin", Cui Cui in "Border City", What a natural child's voice without carving! She can also match a resolute girl, a stubborn young woman, all like gods. In this regard, Yao Xijuan is similar to it, Heidi in Yao's "Heidi" has some milk sound and milk, and even in this same film, it can be matched with both the elderly and the child, completely with sound conversion, without machine assistance, and its skills are unfathomable. However, Yao deserves the best sweet and delicate young girls, such as Sachiko in "Blood Doubt" and Junko in "Volleyball Girl". Xiang Junshu is Izola in "Slave Girl", Ba Shan Gongzi in "Witness", and Mrs. Derwent in "Butterfly Dream", and I have also heard one of her less famous films, Cross Creek. Her voice is gentle and quiet and a little tenacious, especially able to reflect the introverted chastity of traditional Chinese women, so it is very appropriate to match oriental women. Her voice is slightly hoarse, and she may not be very comfortable at first, but it belongs to the type that the more you listen, the better.
Speaking of listening to the voice of love, as a male audience, it is estimated that nine out of ten will choose Liu Guangning, and it will not be Feng Xianzhen anyway. But although Feng Xianzhen has publicly said that she does not like dubbing, her popularity comes largely from her "Office Story". There's nothing to say, but it's a privilege to say that it's a blessing to meet the right character at the right time. In addition, I have heard a lot of Feng Xianzhen's commentary for TV films, which is different from her dubbing, very restrained and calm, not exaggerated at all, and quite a general's style.