Wen 丨 Gray Wolf
Fan Wei is not a typical northeastern man.
The northeast man is strong, he is weak; The Northeasterners are tough, he is cowardly; Northeasterners are brave and fierce, and others and animals are harmless. The name of the first ruthless person in northern Liaoning is just a dream that Fan Debiao hangs on his lips, which forms a strong contrast with himself.
This contrast has made Fan Debiao, and also achieved many of Fan Wei's film and television roles, which can be regarded as the source of "paradigm comedy". A kind of thick appearance, given a lack of heart and eyes, coupled with stuttering, is the basic impression of his fame.
In the 2001 Spring Festival Gala stage's "Selling Abductions", he was a supporting role and partner next to Zhao Benshan, but this story is not just the story of the liar fooling the lack of hearts and eyes, and the abduction and car (wheelchair) on the stage has transitioned from Zhao Benshan to Fan Wei's hands for many years, which also means an authoritative recognition or delivery mantle in the northeast sketch circle.
"Trafficking"
But in fact, although Fan Wei became famous in one fell swoop, he did not take this mantle. The last "Kung Fu" of the "Kidnapping Trilogy" was unveiled in 2005, with a gap of two years, due to the death of Gao Xiumin and the return of the story, as well as Fan Wei's painstaking contemplation of the future. Or at that time, he had the preparation to retire from the rapids and say goodbye to the sketch stage.
In the story of "Kung Fu", Fan Wei is no longer the foil of Zhao Benshan, but fights with each other, Zhao Benshan dao is one foot high, he is a foot tall. With the attitude of eating a long and a wise, he finally completed the counterattack and bid farewell to the sketch career and stage career with a couplet with a deflated posture.
Kung Fu
For any person of this kind of background, this is like a "waist chop", although the stage actors will generally flock to film and television, but more as a side business, or a parallel development of the head, these works are regarded as an extended and integrated product, it is difficult to separate from the past themes, characteristics, styles.
Therefore, even if it is as strong as Guo Degang, the entry into the film and television industry is only an ugly work such as "Three Laughing Talents" and "Nineteen Generations of ancestors". At least from the perspective of production, they did not face up to the tradition of the film and television industry, but followed the old path and made it a secondary creation of stage performance.
"Nineteen Generations of Ancestors"
In the genealogy of Chinese sketch cross-talk, the success rate of those involved in film and television is quite low, Chen Peisi may be the most successful one in the early days, and today there is Shen Teng the most - they have achieved the same amount of market success and influence on the Spring Festival Gala stage and the film and television industry, but the fly in the ointment is limited to the "comedy" genre, and it is difficult to break the dimensional wall.
More masters in the small stage and film and television industry between the long-term parallel development, Zhao Benshan, Song Dandan, Pan Changjiang, Zhao Lirong, Gong Hanlin, Guo Da, Cai Ming, Huang Hong, etc. (today is Xiao Shenyang, Dapeng, Qiao Shan, Jia Ling, Zhang Xiaofei, etc.), although each has its own achievements, there are also film and television masterpieces, but the career is ultimately heavy, it is difficult to erase their basic impression of "small stage actors".
Therefore, whether watching "New Year" or "Raise Your Hand", in the face of Zhao Lirong, Guo Da, Pan Changjiang, the old faces of the Spring Festival Gala stage, the audience will inevitably play, which is a typical adaptation problem: can the national laughter point of the shaking burden and the basic attributes of the movie be effectively compatible?
"Hands Up"
1987's "Kyoto Ball Man" gathered Chen Peisi, Jiang Kun, Tang Jiezhong and other masters of the sketch cross-talk industry, but the protagonist could still only be suppressed by the dramatic big man Feng Yi. This seems to show that drama has a theatrical model, and in it, the comedians on the small stage stop at adjusting the atmosphere and increasing the point of view.
This dilemma of being incompatible with film and television, or difficult to break the dimensional wall of the sketch cross-talk actors themselves, until the emergence of Fan Wei, can be regarded as the tip of the iceberg.
Before Fan Wei, the most successful in this regard was Feng Gong, an old performance artist who was almost the same as the Spring Festival Gala every year, and indeed treated the film and television industry with the same amount of sincerity as cross-talk, which made his works have various deficiencies, but they could not bear to blame. Of course, his greater advantage is to bind Huang Jianxin and Yang Yaya, who were at the peak of their careers, and in "Stand Up Straight, Don't Lie Down", "Ambush", "Nothing Steals Music", "Who Says I Don't Care", he not only played his own comedy characteristics, but also adapted to the director's folk comedy characteristics, and finally the two were complete.
"Stand up straight, don't lie down"
But Feng Gong has not yet completely unloaded the inertia of his comedy stage, fan Wei has gone further in this regard, so far there is hardly any stage comedian in domestic history who has transformed so thoroughly and so deeply that people can regard him as a full-time actor today.
In other words, among the stars in the national essence of sketch cross-talk, only Fan Wei has truly entered the "post-stage + post-comedy era", and behind this transformation is not only talent, attitude and determination, but also his absolute advantages as a Northeast actor.
The contrast mentioned above is the source of this advantage, which makes Fan Wei not one in the native background of the northeast, giving him a unique background/graphic advantage. The most effective way to dissolve stage comedy can be boiled down to two, one is dramatic and the other is realistic, and Fan Wei naturally belongs to the latter.
Fan Wei's realism is actually a kind of "Northeast neorealism", and this strange soil seems to have been dislocated from time, and zhang meng, Geng Jun and others (perhaps half Wen Muye) have been trained to become the directors with the most neorealist spirit.
The film that best fits this feature is 2008's "Blessed Ears", which depicts the 48-hour life of Fan Wei's railway maintenance worker Wang Kangmei after his retirement — a worker who left the state-owned unit plunged headlong into the world of flowers and flowers in variations, coming and going in the windows of pyramid schemes, shoe shines, pedaling, promotions, two-person turns, promotions, etc., but he can never find his own place.
"Blessed are the Ears"
The wife has been seriously ill for a long time, the daughter's marriage is not smooth, the son is rotten, the father has no one to rely on, and this chaotic situation has exploded because of the shortage of retirement wages. Fan Wei's absolutely clumsy body wandered through various broken and noisy spaces, with a kind of Sisyphusian effort, but he was not excited, but allowed all kinds of silent contradictions to erupt in subtleties.
In the scene where the noodles are eaten in a small Internet café, Fan Wei's series of actions are the most ordinary daily routines, breaking noodles, boiling water, and nagging with the boss. But on closer inspection, this scene is also magical - in addition to Zhang Meng's use of news broadcasts, main theme movies and the withered/eroded environment of reality to do xenodetic treatment, but also in a kind of daily precision in Fan Wei's performance, which is indeed a neorealist performance mode, with subtle and focused strength to constitute the amplification system of the entire era.
This kind of "neorealism" can be seen even before Fan Wei met Zhang Meng, and although 2004's "July of the Car Watcher" is a standard TV movie in texture, the story is extremely simple and even cheesy, but it was revitalized by Fan Wei alone.
Du Hongjun, played by Fan Wei, is a small person who is constantly troublesome among all sentient beings, nestled, stoic and easy to satisfy, his bloated and broad heart, so that he has this ability to resist pressure, can withstand the various uncertain blows of life and the difficulties of repeated comings and goings.
In the continuation of the story, people not only want to see him "tough" once, but also do not want him to cause trouble, so the bottle he smashed on the head of his love enemy Liu San at the end of the film was just stuck in the awkward and sad hanging section, at this time, the screen was placed on the screen to show the phrase "there should be no hate" sung by Faye Wong At the spring festival gala.
"July of the Car Watcher"
"July of the Car Watcher" is about the inevitable collapse of Chinese-style working citizens, which is in contrast to "The Happy Life of Poor Mouth Zhang Damin", but the difference is that Du Hongjun is not as urban as Zhang Damin, and Fan Wei is not as flexible as Liang Guanhua, which can be seen in the "Crazy Dinner Bureau" that the two have cooperated in the future. However, Fan Wei also has his own advantages, that is, a kind of openness and thickness, which makes him more intuitive to withstand the pressure of the role.
Considering that Fan Wei had not yet bid farewell to the sketch stage at this time, and was performing exaggerated, comic-style stage performances in Feng Xiaogang's films (such as "I want to rob a color" in "No Thief in the World"), it is not difficult for people to perceive Fan Wei's leapfrog performance potential. Huang Jianxin issued an invitation to him at this time to shoot "Please, Praise Me", and what he actually valued was such a span and comprehensive strength.
"No Thief under Heaven"
The first scene of the film, starting from Fan Wei's big face close-up, although it is about a strange praise suspense case, but the wonderful pen of the film in addition to the heavy metaphors buried by Huang Jianxin, there is also a "positive confrontation" between Fan Wei and Wang Zhiwen, one of the two is called "Red Flag", the other is called "National Anthem", aside from ideological references, Red Flag refers to a surface, that is, Fan Wei's big face, it is large, can hold all the expressions; Wang Zhiwen is an invisible melody, and according to people's basic understanding of him, a large part of his charm comes from his mouth and textured voice.
On the charm, Fan Wei and Wang Zhiwen are far apart, but on the level of acting, they are thousands of differences - Fan Wei proves that even in this role that still does not completely erase its absurd comedy characteristics, he can also be compatible with the traditional male protagonist Wang Zhiwen, confrontation and not fall behind, which also proves in disguise that Fan Wei can take on more dramas.
"Please, Praise Me"
After performing "Kung Fu" at the Spring Festival Gala in 2005, Fan Wei officially cut the mat with the sketch, and the pain of this mat cutting was disguised as the physical mutilation of Lao Cui in "Aromatic Journey". Although the literary and artistic style is a bit too heavy, "Aromatic Journey" carries a real sense of the times of spiritual history, as if it is a weak version of the continuation of "Alive", and fully achieves the actors in it: Zhang Jingchu's face has the natural function of writing suffering; For Fan Wei, there is a higher requirement, that is, to unload the suffering and calmly, which can also be regarded as a subtle contrast treatment, the more faint and invisible, the more able to perceive the unspeakable pain of the change of the times.
Fan Wei and Ge You can make a comparison at this level, Fan Wei's state of acting in "Aromatic Journey" is close to the state of Ge You's performance of "Alive", although this does not mean that the two works or the acting skills of the two can be equally viewed, but that Fan Wei can control this serious drama historical theme in a similar way.
"Aromatic Journey"
Therefore, many people agree with this statement: since the advent of "Aromatic Journey", it is no longer possible to limit Fan Wei to a comedian.
Fan Wei proves that he is not only a comedian, just as Hong Jinbao can prove that he is not a simple action actor. In this regard, "Departure on the Same Day" and Hong Jinbao's "Eight Two Gold" seem to have the same appeal, that is, to reverse the standard of appearance and restore a kind of mellow and kind and reliable male charm, of course, this kind of film is an anti-realistic and overly romantic imagination, which is difficult to withstand the test of time.
With "Nanjing! Nanking! Fan Wei is not the protagonist, but his role has found a particularly suitable trait, that is, as a "person who undertakes and solves problems".
This setting almost corresponds to Fan Wei's natural human design, even if he is cowardly, greasy, greedy and afraid of death, but he can always find a countermeasure in the mixed world, he is a person with the ability to resist pressure, channel and protect, and once this ability cannot be achieved (or its purpose ultimately fails), it is often the hysterical moment of his acting explosion.
Nanjing! Nanking! 》
This character mode, by Nanjing! Nanking! After the transition of 1942, it was finally maximized in No Problem.
Ding Wuyuan in the film is an excellent air bag, pot repairer, a versatile responder, and a realistic version of Doraemon. This character has a soul-deep co-production with Fan Wei, so that in addition to Fan Wei, it is difficult for the audience to consider that there are other possible better candidates.
Controlling the role of Ding Wuyuan, Fan Wei seems to be at ease, just like Ding Ding xie niu, retaining enough measure, just like Mei Feng retained enough white space in the posture of a literati.
Since Fan Wei can penetrate this kind of blank space (which Shen Teng and others can't do), it means that he has surpassed the absolute standard of stage comedians - the idea of a small stage theater always focuses on overflowing and a contrasting machine inspiration - and enters the realm of image art perception.
"No Problem" "No Problem"
Therefore, Fan Wei beat Liang Jiahui, Xu Guanwen, Jacky Cheung and others to win the Golden Horse Film Emperor, not an unpopular, especially with reference to Fan Wei's resilience and ups and downs along the way, this award does have its persuasiveness and gold content.
At this point, Fan Wei has the name of a heavyweight film emperor, and the relevant historical doubts have been settled - Fan Wei is indeed the most successful actor who has come out of stage comedies such as sketch cross-talk - at least despite commercial standards, this is the case in the field of pure performance.
The continued success of this transformation comes from three aspects: Fan Wei's northeastern identity and his sense of contrast in his body give him an innate foundation of neorealism, which is the time of day; Fan Wei's large face (and heart wide body fat) gives him a variety of precise expression (posture) space, but it should be noted that this is not an exaggerated expression in the comedy tradition, but a micro-expression that tends to be extremely microscopic, which is geographically advantageous; Fan Wei's will is resolute, cut off the back road and strives for excellence in the acting route, challenging the genre, has a strong resistance to pressure, adaptability, and finally obtains the ability to solve "everything is not a problem", so that the audience is awe-inspiring, this is a person and.
Fan Wei's breakthrough and successful transformation are, of course, a precious case in the Chinese film and television circle, and shen teng and Jia Ling can not compare.
However, people should not overestimate Fan Wei's acting skills too much, as to why he is "the god of acting", it will always be too exaggerated and unworthy of the name.
"One Second"
First of all, Fan Wei is not suitable for playing the "big male protagonist". He lacks a standard Karisma charm, which makes him unable to assume the classic roles played by Jiang Wen, Zhang Fengyi, Chen Daoming, Wang Zhiwen and others, and this route is absolutely impossible to open due to the limitations of the image.
Secondly, although Fan Wei is good at "small people in the city", he has not been able to continue to improve after "No Problem Problem", and in the past five or six years, he has taken over many roles, although different types, but they are hovering in some kind of relatively repetitive comfort zone, and even appear a little greasy.
Third, although Fan Wei's acting skills have their own characteristics, they are accurate enough and have enough sense of proportion. But in the overall perception, it still gives people a vague sense of routine. In other words, although Fan Wei feels comfortable enough to hold each scene, he can always predict it - as soon as he makes a move and frowns, we can basically guess what he is going to do and what to say. In other words, his physical condition, from expression to body, has not yet been exploited to the extreme.
"Railway Hero" "Railway Hero"
This is not a nitpick, but a fact: Fan Wei's appearance is an advantage and a hard injury, and he lags behind various emperor superstars and big male protagonists at the starting point, which is limited by conditions and helpless; But at the level of pure acting, he really did not reach the level of Ge You, Li Baotian, Li Xuejian, Zhang Fengyi, and Wang Zhiwen.
The reason why the above actors have become the top existence in China, in addition to being accurate enough to integrate people and dramas, more importantly, they have a kind of "unpredictability", and people cannot judge his subsequent behavior through an action and a look; At the same time, their works are equal to the environment, and the audience will hardly ask them to make breakthroughs in acting.
"The First Incense"
However, considering the twists and turns of Fan Wei's acting path, this achievement is enough to make people awe-inspired.
At this point, criticizing him for his lack of level and not out of the comedy bag is indeed an irresponsible statement; But insisting that his acting skills have reached the ceiling of Chinese male stars is naturally not true. Fan Wei's performance in the post-comedy era needs to be objectively evaluated.
Of course, Fan Wei's path in the post-comedy era will surely become a guiding light for a new group of young actors with stage comedy backgrounds, including Shen Teng, Jia Ling, Dapeng, Qiao Shan, Zhang Xiaofei and so on.
If one or more of these people have the right method and firm will, and then find their own advantages and potential, then the reproduction of the Miracle of Fan Wei is not a small probability event.