Now I can see the topic of "Heart Residence" on the hot search almost every day. The drama has been broadcast for more than half of the time, and the word of mouth is mixed.
The four main actors in the play can be regarded as actors with domestic acting skills and fame - Haiqing, Zhang Songwen, Tong Yao, Feng Shaofeng, but it is still the most popular reality theme at present. But after chasing it, I found that there was something wrong with this drama.
The name of this drama is reminiscent of the phenomenon-level drama "Snail Residence" 13 years ago, yes, it is indeed a sister of "Snail Residence", both dramas revolve around the story of "House", the story background is in Shanghai, and even the director is the same. But "Heart Residence" is ultimately not worthy of the old hits of more than a decade ago.
The story tells about Feng Xiaoqin, a foreign daughter-in-law married to Shanghai (yes, it is already 2022, still engaged in the battle of the Shanghai mother-in-law's foreign daughter-in-law. Get on the bus first and then make up your ticket. The eldest sister Gu Qingyu has always been wary of this woman who wrote "change her destiny" on her face. Feng Xiaoqin urged her husband Gu Lei to borrow money from her twin sister Gu Qingyu to buy a house, but was cleverly resolved by Gu Qingyu and revealed her plan to buy a mansion.
However, her husband Gu Lei died unexpectedly, the contradictions between her sisters-in-law continued to escalate, and her single mother Feng Xiaoqin was almost desperate, but she also began the process of exploring her own value. Relying on her wisdom and resilience, she planned the nursing home and made it bigger and stronger. For the dream of her teenage years, Gu Qingyu reshaped her cognition of life in reality and dreams from flash marriage to flash separation. From opposition to mutual understanding, the two women will carry this home together no matter how much wind and rain there are in the future.
This is a set of ultra-luxurious packages that include family conflicts, entrepreneurial history, and women's independence. It should have been a particularly three-dimensional and rich story, but the whole play only made people feel two words: so noisy.
After Bai Baihe became a hot search by saying 99 words in one breath, Haiqing also won the hot search because of the lines in the play.
Netizens sighed that Feng Xiaoqin opened a double-speed line to the in-laws' in-laws' accusations. After her husband's death, her "accusation" play against her sister-in-law Gu Qingyu, who constantly interfered in their marriage, was also very exciting. Yes, the actor's lines are really good, but is it necessary to always be like a machine gun?
And for most of the time in the whole play, the family members are hurting each other, often confused about their psychology and motivations, which is difficult to accept.
For example, Shi Yuan, played by Feng Shaofeng, married Gu Qingyu, a Kochi executive with an annual salary of six or seven million, but his mother was dissatisfied with Gu Qingyu in various ways, and had to embarrass her everywhere, on the grounds that her daughter-in-law's family had not been noble in the past, plus she had bipolar disorder, so she did not follow the logic at all.
And Gu Qingyu, as such a successful person in the workplace, in the face of family relations, emotional intelligence suddenly dropped to negative numbers, not only will not resolve the contradiction, but always seize the opportunity to say something that can make relatives quarrel with themselves.
The atmosphere of the big family where the heroine Feng Xiaoqin is located is even more blinding, like to pull gangs and party at home to hold small meetings, and do not care at all whether others will hear, one party in the room unscrupulously say bad things, there is always the other party can eavesdrop outside the door, and then the two sides will open fire, causing a battle within the family. In short, help... Do now family dramas completely unnecessary for warmth?
Does it really work to drive the plot and incite the audience's emotions and empathy by arguing and deliberately escalating contradictions? Domestic dramas can no longer act without quarrelling? If you don't quarrel, you can't reflect the actor's line skills?
Since when has the contradiction between women and women, between mother-in-law and daughter-in-law, become the focus and standard of domestic family dramas? It seems that the family is incomplete without a mean mother-in-law; it seems that the harmonious relationship between the mother-in-law and the daughter-in-law is not realism.
When we avoid over-amplifying gender antagonisms, are we inadvertently always amplifying the antagonisms between women? Isn't the mother-in-law a woman, and why must she be a stumbling block on the road to women's awakening and independence? Isn't that another stereotype?
In fact, liking to quarrel is not the core problem of this drama, and the biggest problem of the whole drama is in the heroine Feng Xiaoqin. The adapted script changes the core of the original book's human setting, thus shaking the root of all contradictions and losing the deep problems that the original wanted to uncover.
In the play, Feng Xiaoqin wants to "change her life against the sky", marry into Shanghai, and want to buy a house in Shanghai. However, after 8 years of marriage, both husband and wife received salaries, and the savings were only 30,000, but she wanted to buy a house of 3 million yuan, wanted to reach out and borrow pensions from her father-in-law, borrow money from her eldest sister, and planned to exchange small rooms for large houses, and take over all the illegitimate children of her father and mother to realize the beautiful vision of the whole family settling in Shanghai.
In the TV series, it is said that Feng Xiaoqin is stalking, playing with his life, unmarried and pregnant with the ball to break through the door, no appearance and no family lineage, secondary school graduates do not know how to work in the bank, the only advantage is to burn a good dish. If the script can really tell how such an ordinary city woman lives, how to struggle, and how to be calculated, it is a domestic drama, and we have not filmed such a role for a long time.
But no, we have to make her wake up overnight and become an independent woman. From a person who cares about the pension of the elderly to buy a house, suddenly becomes a proud, two-sleeved and clean-winded heroine, delivering takeaways, preparing to build a nursing home, and becoming a social pillar. So, what are the external and internal causes of the "sublimation" of the speed of light? Sudden death of your husband?
What is Feng Xiaoqin in the original work? It's wonderful. She came to Shanghai as a teenager, no diploma, starting from low-threshold sales, mixed foot washing city, she was full of yearning for greater Shanghai, like many foreign sisters in those years, trying her best to stay and be a Shanghainese. So she was young and beautiful in her early twenties and married Gu Lei, a Shanghai man in his late thirties.
Why can't Feng Xiaoqin's ambition to run and climb all the way, eager and patient, because now domestic dramas can't tolerate this kind of overly real "bad girl". What everyone needs is the big heroine of truth, goodness and beauty, and it is no wonder that Ge Weilong in "The First Burning Incense" has been changed to a pure love brain.
Vicious mother-in-law can always exist, but there must be no heroine who is not great enough and who is true, good, and beautiful. Or that sentence, do domestic dramas dare to shoot a little real reality?
Author: Mie
Image source: Weibo, Douban, video screenshots