"Our Day" and "Nine Bends of Love" are being broadcast on CCTV, and both dramas are era dramas in the late 70s and early 80s of the last century as the starting point of the story, and the time span in the play is as long as twenty or thirty years, throughout the era of reform and opening up. But from the core of the story, the age taste of the two works is superficial, and the misunderstandings and impermanence that are constantly staged in the plot make the drama contradictions too fake and intense, giving people a fluttering feeling, losing the truth of life and the thickness of the era.
#1
"Love Full of Nine Bends" tells the complex emotional entanglement between Yang Shumao, played by Han Dongjun, who has been torn between the nine bends and "three beauty" for many years. Yang Shumao and "true love" Ye Feihai swore a mountain alliance, and Shi Xiaona and Zhao Yajing who were still in love "cut constantly, and the reason was still chaotic", this kind of era romance drama with exaggerated polyamorous relationship with exaggerated dramatic effects is not easy to be reasonable and good-looking.
In the play, Yang Shumao's parents beat Mandarin Ducks, and Ye Fei, who was devastated, had to fake marriage with the scoundrel He Xueyang in order to give birth to a child with Yang Shumao. Yang Shumao came to the door to tell his heart, but he was disheartened to learn that Ye Fei was married. Ye Fei left again because he bumped into Zhao Yajing and Yang Shumao's intimate behavior. The division and combination of this pair of heroes and heroines is a misunderstanding and a misunderstanding. After the difficult reunion, Ye Fei hid the identity of the child from Yang Shumao, deepening the misunderstanding between the two and leading to a greater conflict.
The screenwriter "held back and did not say that there was a misunderstanding" to create contradictions to promote the plot, which was too deliberate and lost the truth of the characters and life.
#2
"Our Day" is a work "broken" by excessive plot density, and the online score has also dropped from 7.4 to 6.1.
The plot conflicts for the sake of conflict, does not talk about dramatic logic, and is reduced to a pile of bridges with floating lights, and in the seemingly airtight routine plot, you can see too many shadows of popular dramas, and the film party also apologizes for plagiarism during the broadcast process.
The play is also full of all kinds of impermanence, and in the epilogue, Yan Bing, who has been following the rules, bought drunk and lost her pregnancy, and bleed heavily to cut off the uterus, this kind of youth pain bridge caused the audience to collectively complain, and was accused of a bloody love drama wearing the coat of the times.
#3
The current screen period drama, there are more and more characters on the propaganda poster, the plot density of the story is getting bigger and bigger, it seems that the TV series is a flexible infinite balloon, the more full the plot, the more exciting the plot will be. Many creators prefer to write coincidences, misunderstandings, and impermanence, "not deep enough, dog blood to make up", character stories are strung up before and after contradictory, resulting in the "outrageous" look and feel of the plot.
When "Longing" was broadcast, it aroused heated discussions and cultural topics among the whole people, because it created a series of typical characters in a typical environment, and the plot followed the internal logic of character development and story evolution.
The character Wang Husheng in the play is a classic character of "exquisite self-interest", in the Cultural Revolution era, he chose to break up with Xiao Zhuxin, who had similar interests but also had a bad background, and then pursued Liu Huifang, a worker master who was kind-hearted and brought warmth to him; After the reform and opening up, Wang Husheng, whose situation was reversed, disliked Liu Huifang's "lack of culture" and no common language, and instead yearned for "romantic love" with Xiao Zhuxin. The logic of the characters is consistent, intertwined with the sense of age of a specific era, forming a repeated and progressive dramatic conflict.
Also a Beijing-style hutong play, "The Happy Life of Poor Mouth Zhang Damin" opens with an impressive "battle for living space": Zhang Damin built a "tree house" in a crowded courtyard, and was stopped by his neighbor Gu San, who played poor mouth to stimulate Gu San to fool around, and exaggerated his injuries after being "opened" to force Gu San to quit. A house-building incident, highlighting Zhang Damin's "poverty" and Gusan's "mixing", follows the character to write the play, the sense of age is reflected in the exquisite dramatic conflict, behind the survival wisdom of the small people in the city and the real texture of the bottom life. Such hutong dramas do not beautify the era scenes, but present the real hutong life, which is a civilian perspective that can really allow the audience to "see themselves".
Period dramas have a long time span, and pay the most attention to character logic and story logic. Good period dramas are always non-branched, spreading one or two main story lines into a detailed and solid manner, portraying a few main characters deeply into the hearts of the people, using a "microscope" to observe trivial life details and small life dilemmas, allowing the audience to repeatedly taste the taste, feel the reality of life and resonate, rather than pieced together, or rely on misunderstanding to tell the story.