Valentine's Day romance box office champion, here it comes.
The first day of pre-sale box office broke 60 million.
It was released for two hours and 27 minutes, and the box office exceeded 100 million.
It seems that a new box office king has been born, and the film not only almost certainly won the single-day box office champion of this year's Valentine's Day file, but also surpassed the box office performance of "Philharmonic City" and became the single-day box office champion of the new film drama film in the Chinese film history Valentine's Day file.
Even the film is expected to become a box office dark horse after the Spring Festival and continue to win the lantern box office single-day leader -
"Ten Years of One Pin Wen As Words".
However, in stark contrast to the high box office, there is a complete collapse of word of mouth:
Although, Douban has not yet opened the score, but a star has already brushed the screen, come, feel the group of passionate comment area -
Some netizens said: I was in the movie theater, crying until the contact lenses were dropped, so sad about money.
Originally, for this movie, many friends actually had very high expectations.
After all, this work adapted from Shu Haicangsheng's classic sadomasochistic novel of the same name is very good at creating the light of the romance blockbuster, representative works such as "Your Wedding", "Passing Through Your World", "If the Voice Doesn't Remember". It seems that this is another sadistic love film that the light is good at.
But the reality is, you may be disappointed.
At least, my biggest feeling after watching the film is: Alas, it is really blind Ren Min Ding Yuxi.
1. Fans of the original work: The screenwriter and director are afraid that they are not two books that I have read
The original story is simple, it is a ten-year sadomasochistic love affair.
Ten years ago, Wen Heng (Ren Min), who was fostered in the water town of Jiangnan, was taken back to the Wen family in the north for the first time, and the fate arranged for her to meet Yan Xi (Ding Yuxi), and this encounter was ten years of entanglement.
The routine of the classic love story is nothing more than those kinds, and the original story is probably written around the sadistic love of the two people. Dog blood and sadomasochism, no problem, the problem is how to abuse?
As a viewer who has seen the original work, watching the movie mainly feels strange: the Wen family and the Yan family are family friends, so the daughter who is hard to find back, she directly let the Yan family go? Wen Heng chose not to contact his family because he had a sense of self-blame after his father's death. How did it become Yan Xi's non-farewell?
The most important thing is Wen Heng's love for Yan Xi, which is clearly written in the original work, a small town girl who has lived in a small town since childhood, and a glimpse of the beautiful teenager in the big city. Yan Xi's preference for Wen Heng is from guilt to touching to love that cannot be let go. whereas
The love in the movie is that love is the heaviest shackles in their lives, they can't escape forever, they don't need to lay a cushion, they love it is right.
The film on the original to do a lot of adaptations I also can not understand, Yan Xi is good at calligraphy painting changed to love photography, studio to change the darkroom, the two people's love letters became a plastic necklace, by the way, a domestic film to shoot a love of photography male protagonist can not ask professional guidance, professional photography is really not so playing camera.
It is understandable that many of the plots in the movie have been drastically cut, after all, the length of the movie is limited, but wen's father's plane crash caused Ah Heng to leave the Wen family for many years, and Wen Heng's careful care when Yan Xi was mentally disturbed, can these key plots also be missed? Is it really okay?
Well, the director is happy.
After the screenwriter greatly deleted the original work, and then drastically increased a lot of plots, did not see the original will think that the original is written like this, but the fact is that seeing the male and female protagonists will have a happy ending, the male protagonist suddenly came to a faint + terminal illness, which is basically the invention of the screenwriter.
What is the company that invests in good brothers to leave a guarantee for the girlfriend, the earliest Jinjiang authors have to call the insider directly when they see it.
Now the whole story is a classic ancient Korean drama series: a sad man and woman who fell in love at first sight, one side silently left to die without telling her the reason, the reason must be that he was seriously ill and silently endured, the party who left after ten years must have returned from illness and was left in the cold, and later there must have been a party who heard from a friend: he has been silently in love with me.
After the heroine knows the truth, she must suddenly realize that she will immediately go to the male protagonist, and the ending must be that HE has arrived at the door, and she must also force the sadness to flow into a river.
Anyway, it is a strong reversal that does not talk about logic at all, the purpose is to advance the plot, but the conflict twist in the original work is all omitted, no wonder the original fans say that it is better to shoot a new story directly.
The question is what does the average audience want to watch a movie? Empathy!
To shoot two people in love at the same time, to accurately and effectively convey your emotions to the audience, we will identify with the feelings between the characters, and follow the emotional line of the characters, be captured and moved.
The current situation is that the male and female protagonists reject the communication of normal people from beginning to end and love like crazy. Then wait for the audience to feel like they are infected, thrown into the touching love of the male and female protagonists.
But when the female protagonist and the male protagonist live together, they still look underage, and the screenwriter wants to tear up without considering common sense?
The result now is that the movie has set a ten-year-old warm shell, but the core is the outdated dog-blood love of 10 years ago, and the fans of the original book think they have read a fake novel. Viewers who have not seen the original work may have counted the account of the story on the original book.
I am a fan of the original work, and I also want to shout like Father Zhou in "The World of Man": You slander me!
2. Ordinary audience: Tear gas must also talk about the Basic Law
Of course, the movie slot point is much more than that.
As long as you watch 20 minutes, you can master its routine -
A sadistic scene is followed by a sadistic scene, and various ancient inner techniques and bridge sections take turns to perform. The result of this excessive abuse is that the film's set, art, styling, lighting and even performance style are almost stage-play-style.
The overall style of the film is more forceful and exaggerated than that of Qiong Yao drama, the lines, expressions, limbs and plot are all presented by the big two, and the actors' performances are also interpreted in a concentrated way, how to tear the heart and lungs.
The director's technique is also more and more forceful the back, and the second half is basically a long MV.
This sadistic style is actually very characteristic of domestic explosive romance films.
You can even give it an exclusive term —
"Blockbuster Movie". The more abusive, the more box office hits.
It's like a tear-jerking movie created using algorithms based on the audience's viewing habits.
Female audiences love to watch dream stories, and they also love to be determined for love. So the main creator completely interpreted the terminal illness, sadomasochism, and forced BE three axes of Korean drama + domestic romance.
Fill the entire film with a variety of actors' sadistic performances and painful text narrations.
Novels such as "Unless the loess bones are white, I keep you worry-free for a hundred years" are original and put on the big screen, and the kind of sadistic and outrageous, bloody and ancient complex perception is a must.
Domestic screenwriters have once again proved themselves that the popular elements of abusive films around the world can be stewed into a pot of dog blood by them.
The result is that the rhythm of the whole movie is also very strange, there is no beginning and turn, the family line and the friendship line are gone, that is, a pair of male and female protagonists love for 90 minutes.
I don't know what you think of this technique.
At least I don't feel moved at all, I just feel that it's special, special, special embarrassment, like a large social death scene.
3. Star fans: Alas, the white blind Ren Min Ding Yu Xi is so good
Of course, what the audience loves to see is the actors themselves.
And the movie is actually good at using actors.
Ding Yuxi's crying drama is visible to the naked eye that there has been progress.
Ren Min, who was often questioned about his appearance in the past, is really good-looking in the movie.
But why, there are still many viewers who see embarrassment?
Because we like a character, or like an actor's performance, it's never isolated.
In addition to their appearance and performance ability, such a wonderful and touching story in the movie has made their wonderful performances in the past.
However, the story of "Ten Years and One Product" is probably difficult to satisfy star fans.
Visible to the naked eye, when the touching dialogue in the novel is directly put on the big screen and read out, the movie performance actually becomes a soundtrack poem recitation, and the more the actor tries to scream angrily and cry sadly, the more embarrassed the audience is, because "Are you willing to let me be your wife of Yan", "Don't let her be alone again", "He said he will never lie to me" These lines, the audience really can't stand it.
Now some viewers complain that the male and female protagonists can't watch the acting skills. In fact, it is because the emotions of the characters are really inexplicable, some are unreasonable, and they are caught in self-touching.
Or rather, this is a kind of assumption of the creators themselves, probably: You see, I am so obsessed, I am so dedicated, you must be moved, you must cry!
As a result, the male and female protagonists have also become tool people, and it is difficult for you to see what she thinks and thinks, and her efforts. They're all just a tool that movies use to abuse the audience.
How vivid are the acting skills of the male and female protagonists, and how can they have layers?
Wen Heng's steadiness, stubbornness, and forbearance, and the male protagonist's strong forbearance and retreat, how can the audience understand it?
As a romance film adapted from an ancient classic novel, it is more necessary to sort out the origin of the story and the psychological logic of the characters, so that the audience can substitute for it and let the actor's acting skills play normally.
But neither the director nor the screenwriter seems to really care about the characters and the plot.
What they want is just desperately abusing the audience, even if you look for Liang Chaowei Zhou Xun, these film emperors to act later, what is the use?
4, "Ten Years and One Product" the higher the box office, the more I feel sad for domestic romance films
Back to the beginning of the article: the film box office is so good, broke so many records, but the reputation is so controversial, is it a success or a failure?
It depends on how we look at the film.
The original book does have a lot of problems, and there are also many controversies. However, you can still understand why it can be successful. Even those who don't like it must admit that it is unique.
But now from the perspective of the film, the film is a work full of domestic explosive romance routines;
But if it is used as a product special to valentine's day files, then it is successful.
Those bad and vulgar bridges that have been scolded have become its means of retaining the audience.
in other words. The film may not have been made to garner praise.
It was made to grab the audience's Attention and Time for Valentine's Day, so many Valentine's Day movies, which one to choose?
The audience will naturally choose the one that seems to be the most moving.
As long as someone is willing to walk into the theater and form a movie viewing boom, the purpose of this movie has been achieved.
And facts have proved that this set of domestic romance films, from the "You at the Same Table" to "Your Wedding" to this one, without exception, is sensational and sadistic.
Box office, without exception, has been a success.
It is foreseeable that in the future, film companies will continue to spend money to develop the same type of works, and gradually, Valentine's Day movies will not only become an algorithm, a kind of data. It will also become a routine.
To be fair, after you watch "Ten Years and One Pin", you will not have more thoughts about this movie. It is like a vegetarian flower booked for Valentine's Day, bought, sent out, perhaps causing a burst of laughter and exclamation, but in the end it is doomed to wither, and not many people really remember how beautiful the Bouquet of Valentine's Day is.
And this, perhaps, is also the biggest challenge of domestic love explosions.
When more and more domestic love blockbusters are satisfied with becoming special movies for Valentine's Day, Tanabata and other slots, crazy mixing of ancient and modern Chinese and foreign sadomasochistic elements, losing the minimum standard of good movies, domestic love movie manufacturing seems to be caught in a certain dead cycle: blockbuster releases, audience spit, box office hits, and the cycle begins.
But shouldn't real love movies teach boys how to love, and also teach girls how to treat people who love themselves?
Today's audiences have done something wrong, and they have to be cruelly and ruthlessly taught by Valentine's Day romances again and again: time is moving forward fast, but some things are retreating.
Suffice it to say that if our lament is a mistake, may I not suffer in vain.