Novels are made into film and television works, and adaptations are inevitable, especially for stories such as "The World of Man", which has been told since the 1960s and 1970s, many things cannot be made.
But the scale of the TV series seems to be larger than I imagined, such as adding a plot similar to Li Xiaolu's "Heavenly Bath" to show the misfortune of the female Zhiqing at that time, this original work is not, if this is all can be filmed, then I really do not understand, why many of the plots in the original that look far inferior to this scar literature can not be filmed.
In the final analysis, the factor that has the greatest impact on adaptation is probably not censorship, but the screenwriter's personal preferences.
So there are many adaptations of the drama version that confuse me, and I am tired of spitting.
Including Zhou Bingkun, Zheng Juan, Zhou Bingyi, including the protagonists, there are many changes in personality compared to the original book, but I just want to say that several of the most outrageous adaptations, there is no need to adapt like this, and the characters who have been completely scandalized.
One is Zhou Rong, which I have already said is tired.
In the original work, Zhou Rong is self, not selfish.
As a teenager, she chased love desperately, and when she became an adult, she returned to life down-to-earth.
She is a person who pursues spiritual happiness rather than material happiness, but because she is intelligent enough to be at ease in daily interpersonal interactions, as the times change and she herself matures, she naturally changes from a goddess of fireworks to a grounded beauty.
About her, I have written about her alone before, and I will not go into detail.
The intention of the screenwriter adaptation is probably to write an absolute romanticist, who will break his head and bleed in reality and then reconcile with reality.
But it is entirely Feng Huacheng who bears this responsibility and does not have to be Zhou Rong; even if Zhou Rong is allowed to play this unflattering role, there is really no need to portray her as extreme and suffocating.
The second is Sun Xiaoning.
In the original work, the sister who caught up with the catch-up did not appear directly and did not have a name.
Born in an ordinary northeastern worker family, in the wave of layoffs that year, Zhou Bingkun read the friendship with catch-up and specially let her work in the hotel, but she was unwilling and went south to Shenzhen alone.
In Shenzhen, she may have worked steadily, but in the end she "lost" herself, she got AIDS, spent the money in time and returned to the northeast, left a suicide note and committed suicide.
A long time later, Bingkun inadvertently learned that a shattered female corpse had been salvaged and had been unclaimed, and he suspected that he had overtaken his sister, but in the end he still did not tell him.
In those days, and even today, catching up with her sister seemed to be a hedonistic, selfish, short-sighted person who looked quite unreliable.
But I understood her very well.
The drama version of the suffering of the northeast is actually very understated, there are a long, long paragraph in the original about the factory closure, workers have been laid off, especially depressed, when I look at it, I think, how much luck ordinary people have to go to survive in such a cold winter.
Catching up with an ordinary girl like my sister actually doesn't have much choice.
Staying in the northeast, like other people, relying on the relationship between people to get a precarious job, and living this life in a muddy nightmare, even if it is a long life, what does it mean?
She walked out of a "pioneer road" that was different from others, taking advantage of her youth, enjoying herself in time to splurge, and dying when she was finished.
In her suicide note, her sister even wrote two points of relief: she had never been married, had no husband and no children, and had no worries about death; she had not left any money for her parents and brother, but she had not left any debts. She hopes that her parents and brother do not have to grieve for her "walking", nor do they have to feel sorry for her life, because she used the money she had earned before to live a life like a wide woman for several years, in addition to not being able to bear or dare to lose her conscience to harm people, it can be said that in those years, the life of a wide woman lived as she wanted, spending money like water. On the last page, she also wrote that in the future of China, ordinary people may live a little better, and there will definitely be more people like me who can live for a few years!
It is not to promote her approach, but in fact, many young people today, although not as extreme as her (because the living environment is better than hers), but the general mentality is similar.
However, Sun Xiaoning in the play has completely become a disgusting green tea little three, knowing that Zhou Bingkun has a wife and children, and even shamelessly wants to break up the family...
What is the need for this adaptation of dog blood for the sake of dog blood?
Even if you say that in order to express the difficulties in everyone's life at that time, Sun Xiaoning coveted Zhou Bingkun not only as a hotel manager, but also with an official's brother, in order to live a better life, so he wanted to be with Zhou Bingkun, so that I could understand the screenwriter's intention to adapt.
Now change it to this, very beautiful a big girl, have to really fall in love with a middle-aged married man who has neither appearance nor talent, what?
Just to prove that Zhou Bingkun, as the male protagonist, is charming even if she looks ordinary, and even if Zheng Juan, as the heroine, is beautiful and understanding, she will have a sense of crisis in marriage.
Then she ran to Shenzhen, and finally walked the same trajectory as the original, but insisted on taking the third party as the bottom...
The third is Wu Qian.
Liang Xiaosheng once bluntly said in the book that Wu Qian and Yu Hong were "feminists", of course, a bit of a ridiculous component, after all, in that era, it is estimated that they themselves did not understand what feminism was.
Wu Qian and Yu Hong saw that Debao was afraid of the original form of the inner, and felt very happy, and looked at each other with a bad smile. They are hidden feminists, and they will both rejoice when their wives train their husbands.
In the original work, she went to Bingkun's house with Guoqing for the first time, a group of young people chatted, and what she said once shocked me.
At that time, it was The National Day told a story, obviously a man killed a woman by mistake, and all the men present sympathized with the murderer, wu Qian took the case: What did the slain girl do wrong? Although Chun Yan sympathized with the girl in her heart, she spoke to him because her brother Bingkun, who did not say a word, was also a member of the men.
Wu Qian shouted at Chun Yan again, "Isn't it right not to say a word?" If he had a sense of justice, why didn't he refute the three of them? And you! Thank you for being a woman too! Listening to the three of them say every sentence of our poor sisters is not, why don't you refute it? ”
Of course, looking further back, she seems to be just an ordinary woman.
Yes, it is quite ordinary, although usually with the National Day will also quarrel because of family affairs, but overall it is still generally sensible.
Guoqing suffered from uremia and had no money to treat, so she committed suicide, leaving an orphan and widow, Wu Qian pulled her daughter alone, but whether Guoqing was alive or dead, she did not go to bingkun for her family's affairs.
Wu Qian in the play has become a villain who has won the rice vendetta, and she has to let Bingkun find a job for Guoqing, and she lives in the house of Bingkun's family and is unwilling to pay back...
Of course, there are many people like this, especially in reality, especially in that era, it is too difficult to do anything in their own homes, and the screenwriter has to take Wu Qian to act as a representative of this role... Okay.
These three female characters, some of them are protagonists and some are supporting roles with few roles, but each has its own misfortunes and highlights in the original work, and the play has become a nasty masterpiece.
Screenwriter Wang Haige is obviously also a woman, but he treats female characters less cherished than male authors.
In fact, many female characters in the play, the personality charm has been more or less weakened.
For example, Hao Dongmei, in the original work, she is actually much smarter than in the play.
At the beginning, after Zhou Rong eloped for love, the Zhou family did not understand her, including Zhou Rong's brother Zhou Bingyi, after receiving Zhou Rong's confessional long letter, although he vaguely felt that he understood his sister, he still did not fully understand, it was hao Dongmei who was sympathetic, let him really know his sister, and Hao Dongmei at that time saw the problem of Zhou Rong's relationship at a glance.
Although Zhou Bingyi learned from a small school and became a good teenager, sometimes he encountered difficulties in his work, and he also asked Hao Dongmei to help him with advice.
But these highlights of Hao Dongmei in the play seem to be non-existent, and she seems to be just Zhou Bingyi's wife.
It seems that there is only Zheng Juan, and the drama version is more tenacious than the book version, perhaps because this is Yin Tao's performance, she looks like she has such a soft and inner strength.
But in fact, zheng juan in the book is not weak.
She doesn't seem to have any big pursuits, even if she walks around her own stove every day, she can always be happy, but the reason why she is so optimistic is not because she is really "a little two", but she inherits her mother's great wisdom, adheres to the simplest and simplest philosophy of life, knows enough to be happy, and always thinks open.
In the original work, Luo Shibin came back to rob his son, and has always been "docking" with Zhou Bingkun's side and keeping Zheng Juan in the dark, but in the play, it is the other way around, so that Zheng Juan directly confronts the rapist who once bullied himself, puts Zhou Bingkun in the dark, and later kneels for Luo Shibin's wife Zeng Shan for Zhou Bingkun...
Such a Zheng Juan, on the surface, seems to be stronger, in fact, just like Hao Dongmei in the play is completely only Zhou Bingyi's wife, and no longer an independent Hao Dongmei, zheng Juan in the play is also completely only Zhou Bingkun's wife, not an independent Zheng Juan, her biggest highlight, completely failed to be reflected.
Compared with female characters, their charm is often weakened in adaptations, but male characters are more scumbags.
For example, the biggest villain in the original work, Luo Shibin, the biggest scumbag Feng Huacheng, has become a "good person" loved by the audience in the play, and I almost doubt that they are not money for the screenwriter.
Compared with these two scumbags, who are also men, the original can be regarded as the water of the good people, but it has been adapted into a bad person.
Why?
Is it because Brother Shui's sexual orientation is different from those two scumbags?
Water Flow is actually a very complex character, it is difficult to define him as a "good guy", but to say that he is a bad person, it is certainly not, so I am more inclined to call him a "good man".
What he does, from a legal and moral point of view, may not all be good, but as far as his personal situation is concerned, the reader can still feel that he actually has a good heart, but in special times there are many involuntaries.
Because of this kindness, in the original work, on the issue of NanNan, he was completely on the side of Zhou Bingkun.
Before that, everyone thought that he was in the same group as the water, but in fact, it was not at all.
The play also mentions that sending money to Zheng Juan was not Luo Shibin's idea, but was originally proposed by Shui Ziliu, who was not related to Zheng Juan and the child.
In the original work, Luo Shibin is a completely bad person, and Shui Ziliu naturally disdains to be with him and looks down on him.
And Zhou Bingkun is a good person through and through, Shui Ziliu believes that the influence of parents on children is very important, Nannan was raised by Zhou Bingkun, which is definitely better than following the water.
Therefore, at the beginning, it was still The Water Artesian first reminded Zhou Bingkun that Luo Shibin would come back to grab the child.
Yes, in the original work, Zhongshui Ziliu returned to the northeast one step earlier than Luo Shibin and opened a bookstore.
In the play, it became Zhou Bingkun who proposed to open a bookstore...
Even in those days, opening a bookstore was an unprofitable business. But he has his own principles, and he believes that in any era, people should read more books and read good books, so he doesn't open a bookstore to make money.
The rent for the bookstore was paid for him by his good brothers who admired him.
Until the end, before Shui Ziliu died of illness, the most difficult to put down was still this bookstore, so he specially entrusted Someone to call Zhou Bingkun and wanted to hand over the bookstore to him to take care of, but Bingkun knew that he could not take care of it, so he recommended Shao Jingwen, who also loved books, to Shui Ziliu.
Shui Ziliu told Shao Jingwen that his experience of opening a bookstore for more than ten years is that Chinese reading books is very purposeful, and the vast majority of people tend to be practical, which is very different from Westerners. In Western society, many people read books because they like them, just as they buy flowers because they like flowers, rather than thinking that flowers have other uses in addition to pleasing the eye. He went to the countryside to investigate the relationship between people and books, and the former farmers liked to plant flowers behind the window and behind the house, but now there are very few farmers with flowers in the yard. The peasants' use of the land also became particularly utilitarian, and even if the table was as large as the land, they had to grow vegetables and never flowers. They see flowers as nothing more than an extra in life. But does the dish grown on a small patch of ground really have any special significance for their three meals a day? In fact, it doesn't mean much, and it can't sell for much money. The vegetables they grow are often not eaten and fed to the pigs. Can a pig eat a few more bites to grow two pounds of meat? Nor can it be, but personally feed the pig, watch the pig eat, the utilitarian purpose is achieved, and the psychology is satisfied. What is the use of flowers? Not even livestock and poultry. He said that all of China is mired in utilitarianism, and that it is impossible for peasants not to be anxious and unaffected, and that their utilitarian purposes can only be achieved through land, so they have become eager to make quick gains on land, and they should be able to understand that they have done so. The city man was willing to spend money on a good book to buy a plastic bag of junk food for his children to eat, which he could not understand. He said that he used to be more competitive with reality, and that books that encouraged utilitarian thinking were not purchased even if they were easy to sell, and as a result, they took a long detour. What teaches people to speculate in stocks to get rich, longevity secrets, eight-sided exquisite and other books, as long as it is easy to sell, then enter!
Shui Ziliu said this passage to Shao Jingwen at that time, I really agree with it, our Chinese seems to be true, there is no way, they are all from the hard days, but in any case, really should not give up reading, should not let reading become a purely utilitarian thing, I think this is also what Liang Xiaosheng wants to say to everyone.
Unfortunately, in front of the bed where the water flowed, Zeng Shan promised to keep the bookstore open, but not long after the death of the water flow, she changed the bookstore to KFC.
Lao Shao said, "You have nothing to be sorry for me, it's Chinese I'm so sorry for the bookstore." China is about to become the world's second largest economy, and the living standards of people in every class have improved, and the reading rate of Chinese ranks very low in the world. ”
Bingkun said: "The water flows freely, so I hope to do a good thing for this era. ”
It is such a rather windy water self-flow, in the play almost became Luo Shibin's "running dog"...
In the matter of robbing Nan Nan, he was simply more attentive than Luo Shibin, and he obeyed, and the words he said to Zhou Nan were disgusting enough.
It could have been a very pleasing role, but it made the actor himself laugh at himself and say that he wanted to lame his other leg...
All in all, many of the charismatic characters in the original work have become tool people who spill dog blood in the TV series, which is a pity.