On the first day of the Chinese New Year in 2008, Wang Xiaoshuai and more than 20 staff members "parachuted" into Berlin, and two days later, one of his films was to be screened at the Berlin Film Festival.
The name of the movie is "Left and Right".
The premiere tickets for "Left and Right" sold out a week in advance, and the screening hall was crowded with film critics and media.
After watching the movie, many foreign audiences were moved to tears by this movie, including a Greek distributor who tearfully found the film party and hoped to buy the Greek distribution rights of "Left and Right".
Because in his country, there is a real event exactly like the story of "Left and Right", which is happening.
At dinner, Wang Xiaoshuai smiled and said, "This incident proves the universality and possibility of "Left and Right". It's a global topic, not just for Chinese. ”
In the end, "Left and Right" won the "Silver Bear Award" for best screenwriter at the 58th Berlin Film Festival, achieving another breakthrough for Chinese films in international film festivals.
Of course, the most regrettable thing that year was the female lead actress Liu Weiwei, who could have won the Berlin film queen. Although he lost touch with this huge honor, Liu Weiwei was very calm.
This is the case, in "Left and Right", the strong mother who asked to have another child with her ex-husband because her daughter had leukemia was extremely real because of Liu Weiwei's performance.
It's been 14 years since "Left and Right" competed in Berlin, and no one expected that we would appreciate the story again in another way today.
Recently, the TV series "Dear Child", which is currently being broadcast and frequently stands on the hot list, is adapted from "Left and Right", which is a TV drama version of this movie.
The director of the TV drama version, Hu Kun, is a person with a heart.
During this shoot, he invited two more actors from the film version.
One is Qin Hao, in the film version of "Left and Right", he played a small foreman under Xiao Lu (Zhang Jiayi), and in the TV series version, he directly played Xiao Lu.
The other is Liu Weiwei, in the TV series, she also appeared in the new version of Fang Yinuo's great-sister Xie Dan.
Two "Xiao Lu" lit cigarettes at each other, two "Fang Yinuo" fought a war of words, film and television is like a strange circle that will cycle, 14 years later, they seem to see their future appearance in each other's eyes.
Since Liu Weiwei also appeared in "Dear Child", Pi Ge revisited "Left and Right" again, and now it seems that he is still full of emotions.
The same is the role of "Fang Yinuo", today, we will compare the two actors, to see their performance processing, which is more intelligent, in the end what are the specific differences.
I. "Fang Yinuo" played by Liu Weiwei (character name in the film: Meizhu)
The main poster of the movie "Left and Right" is "large".
On the big red sheets and pillows, Mei Zhu, played by Liu Weiwei, is wrapped naked in it, clutching the red quilt of the cover with both hands, and her expression is somewhat tangled and somewhat soul-destroying.
In the lower right corner of the portrait, there are also a few small white characters: warmth challenges the limits of ethics.
Many people have a lot of imagination about the movie because they saw this poster.
In fact, this is not a "passion" film, on the contrary, its story is somewhat "sadistic".
In the movie, Mei Zhu, played by Liu Weiwei, lives an ordinary and ordinary life.
She is an agent for a real estate company, speaks softly, and after divorce, she takes her daughter to form a new family, and every day she rides the subway to the noisy city.
When she learned that her daughter was suffering from leukemia, she had to shake her existing peace and find a way to have another child with her ex-husband, using the bone marrow of a blood-related newborn to transplant.
The film abandons the display of Meizhu and Xiao Lu's previous married life, and it does not take long to start the plot of her daughter Xiao He suffering from leukemia, so as soon as Liu Weiwei appears, she is a pitiful mother image.
Playing the bitter love card is a common trick in film and television dramas, but how to make the audience empathize from the heart can reflect the true level of an actor.
Let's see how Liu Weiwei plays it.
Liu Weiwei's image was surrounded by the three words "life" when he appeared, and the expression reflected a kind of "defeat" inside and outside.
She wore a plain coat from top to bottom, even the base sweater was gray.
With a sallow face, a messy hair that had not been neatly packed, and a no-nonsense expression on the tenant, a simple middle-aged woman who was almost defeated by life jumped on the screen.
Until a ray of sunlight hits her cheek, the audience will find that under such a simple dress, this middle-aged woman still has an indescribable sense of intellectual beauty.
Although Liu Weiwei's appearance looks weak and can't help the wind, her performance is very connotative, and the emotional "fire" is very well grasped.
The three scenes before and after the subway in the film interpret the hardships of Meizhu's life and the changes in emotions clearly and in place.
The first scene is when I receive a call from my daughter who has a fever.
At this time, the daughter has not yet been diagnosed with leukemia, from Liu Weiwei's eyes, you can see a faint sadness, but there is no despair and anxiety, with a kind of ordinary office worker busy MuRan.
In the second scene, she takes the subway to see Xiao Lu and expresses her intention to have another child. At this time, the daughter has been diagnosed.
Her eyes have been occupied by anxiety and anxiety, and from the serious expression, we can feel the drumming in Meizhu's heart and the psychological rejection of her own thoughts.
In the third scene, IVF and artificial insemination failed, saving her daughter's life was imminent, and for the sake of the child, Meizhu had to propose the idea of "natural conception" to Xiao Lu.
This was the scene when she went to see Xiao Lu, and there was already an almost desperate sluggishness in her eyes, although her face was whiter and her makeup was also made, but she could clearly feel the difference in her mood from the previous two subway rides.
It was the last blow of a poor mother with a donkey skill, and the only way she could save her daughter.
Although Liu Weiwei in "Left and Right" interprets a female figure with tragic overtones, she rarely cries and explodes, and there is no sensationalism from beginning to end.
Especially when she found her ex-husband and proposed to have another child, she was obviously mentally prepared, her tone was soothing and tentative, but her eyes were extremely firm.
Under this expression of forbearance and restraint, the audience feels the strength of her heart that strikes at the heart of the heart, and her indomitable tenacity to not give up until the goal is reached.
In the nearly 2-hour story, Liu Weiwei's eyes also left a deep impression on Pigo.
Many emotions, Liu Weiwei is conveyed through the eyes, she only uses the change of eyes, she completed the whole transformation of a mother from weak to strong.
At the beginning of the child's diagnosis of leukemia, when his family was stretched, Xiao Lu sent a stack of banknotes, and seeing so much money, Liu Weiwei obviously could not accept it calmly.
From the rotation of her eyes and the flickering of her eyes, we can see her incomparable hunger and thirst for this money, but she feels that it is not appropriate to take it directly.
When she told her husband that she was going to have children with her ex-husband, her eyes were full of begging, but this begging was already accompanied by a kind of secret threat and moral kidnapping.
When forcing her ex-husband to "conceive naturally" with herself, the determination of that look has overflowed the screen, and in the end, Xiao Lu is also impressed by this indomitable look.
The whole "Left and Right" also ended in a look scene by Liu Weiwei.
Her and her ex-husband's "natural conception" was known to her husband, and she pointed it out at the dinner table, and from the flash of her eyes, we can obviously feel the four words "being a thief with a weak heart".
After lowering your head, you can even find that the corners of her mouth are slightly cocked, although the eyeballs are still flashing, but there is a kind of "small happiness" and "relief" in it.
Because the current husband acquiesced, she abandoned the worldly bottom line in order to save her children, and said that she could "take over".
Because it is fully integrated with the characters, it is very comfortable to watch Liu Weiwei play Meizhu, although the story seems literary and boring, but because of her performance, the movie becomes interesting.
Liu Weiwei's performance has its own dramatic tension, which is a very advanced acting method, playing who is who, accurately expressing those complex emotions that cannot be described in words.
She lay on the bed waiting for her ex-husband to undress, and the information released in her eyes was like a person's soul being destroyed, leaving only a shell, on the big red futon, it looked very dazzling, but it was very sad.
The camera zooms in, and it's a tension on the string.
Because of Zhang Jiayi's cooperation and Liu Weiwei's control, the whole play has a good rhythm, ordinary is real, and "rotten" is also real, because most of the truth is not beautiful.
From beginning to end, Wang Xiaoshuai handed over the central axis of the whole story to Liu Weiwei to control, and under her unfazed performance, this seemingly petite mother, who was actually incredibly powerful, seemed to shine.
This is also the reason why Pigo believes that Liu Weiwei deserves a Berlin film queen.
Second, Fang Yinuo, played by Ren Suxi
Obviously, "Dear Child" is more detailed than "Left and Right", the characters are more informative, and the antecedents and consequences are more complete.
Because of the length of 34 episodes, the director has enough time to render and lay the groundwork, so we see the whole process of Fang Yinuo and Xiao Lu from love, to contradiction, to divorce and reorganize the family.
In the play, Fang Yinuo, played by Ren Suxi, is very different from the film version of Fang Enoch's "Meizhu".
Because of her teaching work and the psychological changes after pregnancy, she is extremely aggressive with everyone around her.
For the sister-in-law, for the husband, for the mother-in-law, she has her own set of standards and requirements, just like the students in the class, as long as it does not meet her requirements, she may erupt.
Although she has a big belly in the opening scene, in the face of her husband Xiao Lu, who packed noodles for her from the old man, she did not have a word of thanks, first of all, she hated no pepper, and then she was a variety of imperative and imperative sentences.
Although not many viewers have noticed such details, in the audience's perception of the drama, the character of Fang Yinuo is already a strong character.
Whether she speaks or not, there will be a temperament that is not angry, full of power, aggression and explosiveness.
But if a character is only strong, it is too single.
The most worth mentioning about Ren Suxi's version of the role lies in the shaping of the "sensitive" side in addition to her strong counterpart.
She has a lot of fierce words, dismissive attitudes, cold violence and even physical movements, like a fairy ball full of thorns, carefully protecting the inner uneasy little universe.
For the sake of her children, she will also take the initiative to fall into "unconscious violation of the boundaries of other people's privacy."
The mother-in-law took the child down for a walk, and she had to take the telescope to observe at all times, afraid of some accident.
The nanny coaxes the child in the living room, and she will hide behind the door with a very penetrating gaze.
After washing the bottle, she would take advantage of the fact that no one was sneaking over to smell it to see if it was washed.
When she was at home, she would rub up and sniff her mother-in-law and uncle to see if they were smoking.
These "sneaky" small actions were vividly and three-dimensionally interpreted by Ren Suxi, so many viewers sighed "very real" in the bullet screen after watching this drama.
A strong and sensitive person is difficult to tolerate any emotional flashpoint.
Therefore, Fang Yinuo always gives people a sense of "danger", as if she is either erupting or on the verge of an outbreak.
Compared with the "collection" of Liu Weiwei's performance, Ren Suxi has to "put out" a lot in character shaping.
For example, the film version and the drama version have scenes of Xiao He's reaction after being diagnosed with leukemia.
In the film version, Liu Weiwei did not even have a voice, only a movement of almost falling down and then crouching down to hold his head due to excessive sadness.
But in the drama version, Ren Suxi was given a long close-up of crying bitterly.
This is just one of Fang Yinuo's emotional outbursts. Sadness erupts, and of course happiness erupts.
After the child's bone marrow match was found, Fang Yinuo was so happy that he almost went crazy.
He said a few words to Xie Tianhua, "I am so happy", and then hugged and cried, before they were still playing drunk on the street, and then they carried each other on each other's backs.
This intuitive expression of emotion runs through "Dear Child".
3. Summary
Through the above comparison, it is not difficult for us to find -
Also playing Fang Yinuo, Liu Weiwei is an ordinary person whose child suddenly suffered a terminal illness, no hysteria, no crying, and no exaggerated expressions, she integrated herself into this role, with a sense of reality and naturalness as the background of the performance.
Because in any case, life still has to go on, and people cannot always maintain a very excited emotional state.
Ren Suxi focuses on the sensitivity and strength of pregnant women, and her image is also very suitable for this character trait, with a strong personality, an aura that is incompatible with the personality next to her, and a sense of powerlessness that is ready to control everything, but cannot control the fate of the child.
She is more straightforward, more direct in her communication, and has a stronger impact on the audience.
From the perspective of performance, Liu Weiwei is better, but in terms of the delicacy and appeal of the play, Ren Suxi seems to be more excellent.
Many people think that these two kinds of acting represent the level of acting, but in fact, this difference is mainly directly related to the different art forms of movies and TV series.
Movies are art, plots and emotions can be left blank, obscure treatment, appropriate blank treatment, can reflect the charm of the character, but TV series can not.
The TV series has a wide audience and the plot development is fast-paced, so the actor's emotional performance needs to be intuitive and accurate, and cannot leave the audience with any doubts, in this regard, we still have to give the TV series enough understanding and tolerance.
Text/Pippi Film Editorial Department: Ephemera
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