Zhao Liying's new drama "Happiness to Ten Thousand Homes" has been watched.
Since its inception, the show has attracted a lot of attention.
Marriage, workplace unspoken rules, new rural construction, ideological collision, the content covered by the plot can be filmed again by pulling a sub-line out.
Whether in terms of word of mouth and popularity, the performance of this drama is very outstanding, and it has become a rare rural theme work in recent years.
However, in addition to the topic points buried by the script, Zhao Liying's acting skills have become the biggest disagreement of this drama.
In fact, Zhao Liying's performance in this new drama has to be said in six words:
There is progress, but not enough.
01
Let's talk about the remarkable places of Yingbao.
As we all know, Zhao Liying is a female star who came out of the countryside.
The rural background evokes her past experiences, as if she is not acting, but seeing herself as a real He Happiness.
Zhao Liying's trademark big eyes are born with a kind of cleverness.
It is this cleverness, just right to fit he happiness to work hard, young into the society, not only to feed herself, but also to provide a college student, the suffering, tempered out of her character of not accepting defeat and not being afraid of things.
In the wedding scene that dominated the hot search for three days, there was such a shot.
After his sister was fortunately molested by the Wan Chuan family, in the face of the Wang family who wanted to rest in peace, He Xingxing frowned tightly, and his eyes turned slightly from right to left, and finally fell back to the face of the interlocutor.
He Xingfu's doubts and indignation at the wang family, which tended to be inflamed and feudal, were vividly expressed in this short second.
This rural girl, who is both stubborn and does not lose her measure, will also be shy and timid because of her shallow knowledge, will be confused about her self-knowledge because she first came to the city from the countryside, and will also face difficulties and obstacles and not accept defeat, and have courage and courage.
Hungry when he was looking for a job in the city, he squatted on the side of the road to eat a light meal, smashing his mouth and chatting with Qinglai while eating.
The happiness of not wanting to let go of any opportunity, seeing a small advertisement on the side of the road, will be saved by taking pictures with her mobile phone, because this may be a turnaround for her.
Did you feel a hint of familiarity, it's not like you and I on the way back after a fruitless job interview?
In the scene of getting a cleaning job, after He Xingfu put down his bag, he looked around the office landscape with a smile and a little cramped, and then immediately stood up, rolled up his sleeves while asking where the cleaning tools were, and he was eager to dry immediately, and his eyes were full of joy at getting a job and a prospect for the future.
When shopping with Qinglai, he met a small couple who were kissing, and happy to stop her husband to watch together.
A rub of hands, a raised eye, a smile, the eyes are the envy of the romance that has not been received.
Although Yingbao has put a lot of effort into getting close to the role, there are also slots that passers-by fans can't ignore.
In the TV series, He Xingfu's character is a rural woman who has not attended college, and in order to support her sister to go to college, she dropped out of school early to work after graduating from junior high school.
I don't know if it is the aesthetic pot of the crew, or the bao tiansheng beauty is difficult to give up.
From the moment he appeared, He Happiness vaguely carried a sense of atmosphere created by internal entertainment, as if there was a dimensional wall with other characters.
Simply put, it is "not enough soil".
The soil here is not a pejorative term, but a simple temperament of the rural people who step on the yellow soil and work with their hands.
And Zhao Liying's image in the play is too foreign, with red lips and white teeth, and translucent skin, as if she has not experienced the slightest wind and sun, like a delicate doll.
What I know is the daughter-in-law who married from other villages, and what I don't know is that Wang Qinglai has climbed the city's thousand gold.
This sense of separation in picture and temperament makes he xingfu's role not like a small peasant woman, but like a female director who "went to the countryside three times" to promote rural development.
In contrast, The mother-in-law Guizhi played by Chi Peng, a wedding scene, she shuttles freely between the wine table and the backstage, while stammering Secretary Wan, while at her son's wedding banquet, she meets the source and welcomes the delivery.
At first glance at this role, the sister-in-law of his daughter-in-law was taken advantage of, and he also rushed to the perpetrator's home to kneel down and apologize, and the shrewd and dog-legged breath came to his face, and some choked people.
Looking closely, she is realistic, and she has a simple kindness to this foreign daughter-in-law who treats happiness.
Guizhi, who has been smoothed out by life, may see the shadow of himself who was not afraid of heaven in the body of happiness, so that he can compare his heart to heart, understand some ideas of happiness, and support the decision of happiness.
Seeing happiness is smart, capable, and resilient, and will also be relieved to say "like the way I was when I was younger".
In the contrast between feudalism, flattery, power and protection of the short, and support for the daughter-in-law, the role of "Qinglai Ma" comes alive.
I want to say that the female stars of internal entertainment should all play the village women once.
Don't calculate the perfect angle, throw away the gorgeous costumes, and wipe off the delicate makeup.
Use your own skin, bury your hands in the field, and feel the most original appearance of the character.
02
Jin Qiaoqiao once said in an interview:
"You can make me play a princess, but let me play a rural person, I will have to work hard."
Saying this, it is inevitable that I am overconfident in my appearance.
If you want to play a good rural woman, it is useless to just smear mud on your face and pretend to be crazy and stupid.
Carefully studying the script and carefully analyzing the characters is only the first step.
How to grasp the characteristics of the role, show different personalities, rather than applying stereotyped performances, good performance can make people empathetic, can let the audience see the vividness of the role through the actor's perspective and interpretation.
As Reiza said, go and see the mountains, blow the wind, and let the wind and sand that blows through the characters also blow on his face.
In last year's explosive "Mountains and Seas", Reiza proved a truth to the audience through the role of Li Shuihua:
Acting has nothing to do with looks, and even good-looking actresses can "become" a native-born rural woman.
Reiza uses her own performance to show how a gentle girl grows into the pillar of a family.
"Li Shuihua", played by Reiza, ran away because he did not want to marry someone he did not like, and in the end, he chose to come back for his father and forced a smile in front of his lover, which made many viewers blush.
Reiza turned Splash's reluctance to his lover, his resentment and grievance against an unjust fate, and his helpless feelings about his choices into a tearful smile.
In the eyes that looked at the beloved, the purest love for him was poured into the water.
Later, in order to immigrate, she dragged her disabled husband and young daughter to the scene of seven days and seven nights in the desert, and Reiza, according to her own judgment of the role, added a splash to let her daughter cheer along with the cheers and shouted fast plot.
Reiza said in a later interview that the line was improvised by himself.
For Reiza and Splash, they are mutually accomplished.
She put down her delicacy and used an old bag and a turban to create a woman full of yellow earth.
"Mountains and Seas" makes us re-acquaint ourselves with the actor Reiza, and also makes the audience willing to believe that this is The Splash, a simple Northwest girl.
There is also Tan Zhuo, whose acting skills will make people feel pain.
As the "queen of literary and art films", she is not limited to some intriguing literary and artistic roles, but has been pursuing to break through the ceiling of her acting skills and try some broken, intuitive but powerful small characters.
In "Bursting into Silence", Tan Zhuo played the mother "Cui Xia" whose son disappeared.
The skin is rough and grainy, the big flower jacket has not been changed for many years, and the hair is greasy and messy.
With his delicate performance, Tan Zhuo profoundly shaped the image of an ordinary woman in a small village in the west who was weak and helpless after suffering the heavy blows of life.
The director was even more appreciative of her, bluntly saying:
"I write a script that is strong in plot, and my investment in the characters will be weakened, and Tan Zhuo helped me make up this part from five points to ten points."
Tan Zhuo also said in an interview:
"It gives me pleasure to play a role like this."
She pursues boundaries, enjoys change, and turns breaking herself into her own "comfort zone."
There was a scene where Zhang Baomin's search for a son was fruitless, and Cui Xia began to recite the words she had said before her son disappeared, and the emotions of worry and overwhelm squeezed between her eyebrows.
"I saw sheep in the back col, and I didn't look anywhere."
The words had not yet fallen, the excitement had already come to mind, the lower lip trembled uncontrollably, and there were tears in his eyes.
The slightly hunched back, the look of wanting to talk and stopping, and the contradiction of wanting to release emotions but not daring to vent, interpreted a humble, helpless and sad wife and mother into three points.
Finally, when Cui Xia squatted in the doorway and held her son's sheep and cried, as a spectator, I seemed to have become this desperate mother, experiencing the pain of tearing.
03
The focus of playing a rural woman is "people", but the failed actor only sees "village"
"Deep and layered" is a flat expression like being ironed, and the emotional "acting explosion" is crazy and nonsensical body language.
It turns out that the best acting skills of the blanket stars are the marketing of "losing baggage" before the release.
It is not shameful, an idol burden has not been lost for more than ten years.
When the movie "Baby" officially hit the street, the Douban score stopped at 5.3 points.
Not even a passing score, Yang Mi has to bear at least half of the responsibility.
The plot is not as ups and downs as "I Am Not a Medicine God", but the script is intended to focus on abandoned babies, which has captured many eyeballs for a time.
When publicizing, under the banner of the female protagonist single-handedly picking the beam, Yang Mi was also transformed into a de-star:
Smearing shoe polish on her face, using the Nanjing dialect for her lines, changing her walking posture, not allowing her assistant to take care of her on the set, etc., quite a look of sincerity to wash away the lead and sharpen the role.
After entering the theater, I found that I couldn't see Yang Mi's "good intentions" at all.
As a literary and artistic film with bland emotions and a gray tone, the success or failure of "Baby" lies in the protagonist's use of the layering of his acting skills to promote the development of the plot and analyze the intentions of the characters.
As the eye of the whole play, the character played by Yang Mi not only cannot withstand scrutiny in terms of behavioral motivation, but even the climax point of each emotional outburst cannot be supported.
Only the five facial features were left roaring, and the face was full of "Let's see!" I'm trying to perform! "The sense of supplication.
In the face of the boyfriend's unconditional love and apology, in the face of the angry anger of the father of the analless baby, in the face of the heartache of being forced to leave his adoptive mother, Yang Mi's face is like botulinum toxin hitting the wrong position, without a trace of waves.
Only staring at his own pair of big eyes, glaring angrily when angry, silent when moved, and sluggish gaze when contemplative.
The hearer weeps, the listener grieves.
Eye exercises are sorted out by you.
Yang Mi paid the most in "Baby" and only Su Yan appeared on camera.
In fact, Su Yan ≠ acting skills, and playing ugly ≠ acting skills.
Yang Mi's vase is not a bad thing, and it is a bad thing that it can't be sharpened.
If the fragmentation of "Feng Xiaogang's production, must be a fine product" is a long quantitative change caused by qualitative change, then "I am not Pan Jinlian" is one of the progress bars on this road.
Li Xuelian played a role and chose Fan Bingbing to play.
I don't know if this arrangement is for a gimmick: if the performance is good, everyone is happy, and if the performance is not good, it is harmless.
Of course, Fan Bingbing lived up to expectations, and really did not show a lost acting skill.
Fan Bingbing, capitalized national color Tianxiang, plastic sheet, bucket hat, sleeves, no matter how ugly, is still a princess and princess of the wandering folk.
Netizens euphemistically said:
"Although the suyan performance is very brave and the appearance is also very grounded, Li Xuelian, the earth and stubbornness in the bones of the village woman, still lack expressiveness, and the soul of the character has not yet been possessed."
Fans have said that in the process of pairing with 28 wonderful male pairings, Fan Bingbing showed a performance that was more natural than her past works.
But after all, it is dull and blunt.
In order to create a "cold" image of a village woman, Fan Bingbing caused the film to present a godless appearance without waking up from beginning to end.
It is no exaggeration to say that the protagonist is obviously Li Xuelian, but the eyes can't help but be attracted by the supporting roles.
Fan Bingbing's so-called "acting skills exploded", and Liu Ye, Fan Wei and others could kill them in two minutes of play.
It feels like a bunch of old drama bones playing with a film school freshman.
Fan Bingbing taught the audience two things in two hours:
The film queen is not equal to a good actor, and the supporting role can also support half the sky.
You are indeed not Pan Jinlian, but Fan Bingbing, who debuted for twenty years and has acted from one to the end.
In recent years, more and more stars have taken the sky-high salary, but they have contributed to their young acting skills.
It may be because too many stars who have no works and no strength want to get the audience's recognition of their acting skills through the seemingly "shortcut" method of dressing up ugly and unloading the burden of stars, trying to obstruct their eyes and feel as if they are ugly, and their acting skills can soar.
Praying for these stars who have won praise is typical of what is missing, deceiving themselves and playing the audience as fools, not only bad, but also stupid.
Stepping on the land of the countryside, playing the lowest level of the people, but the body is spotless flower jacket.
If you can't bend down the star's shelf, put your feet into the real mud and feel the temperature of the character.
Just don't waste the word "actor".