Light eyebrows like autumn water, jade skin with light breeze.
What is a true all-round stunner? It is probably the Chinese woman in the lens of the first director.
On the weekend, the sheep watched a day's video mixing and editing, and was shocked that there was such a moving and bright era in internal entertainment.
Now there are always people on the Internet who joke that contemporary domestic entertainment is prevalent
But in the era when the film and television industry was officially accepted by the public forty or fifty years ago, the image of women on the screen was almost the most flexible in the history of Chinese film and television.
How great was the aesthetic of the original director? The sheep first look at the picture and speak
The first director shot the most beautiful female face
First of all, let's give you the concept: the first generation of directors mentioned by the sheep is not completely divided according to the standard timeline, but the group of directors before and after the reform and opening up.
Different era cultures have created their "flowing" aesthetic style.
The so-called flow is the instability of the actor's style.
For example, when we mention Xinjiang beauties now, we think of slim, thin and skinny beauty images, in addition to the facial features, the sense of Xinjiang is not strong enough.
And this skinny and refined aesthetic style is currently flooding all over the world.
Unlike now, the original directors loved to make national films, and they loved to shoot national beauties.
The national beauties under the lens of the original directors do not have a specific aesthetic orientation, the facial lines may not be sharp enough, and the distribution of facial features may not be exquisite enough, but when you raise your eyes, it is like water tenderness
Actors can not have the so-called perfect head-to-body ratio, right shoulders, but it does not affect the national charm at all
The first directors loved not the actors, but the style and style.
What is ethnicity?
The actor's headwear and clothing are essential, and at the same time, it must have a bright and exotic sense of stunning
For example, when filming Xinjiang people, the director does not pay so much attention to the delicacy of the facial features, but pays more attention to the overall harmony with the face, and especially highlights the eyebrows.
Eyebrows are the characteristics of Xinjiang people, and they are also a necessary characteristic of Xinjiang beauty.
There is light in their eyes, there are stories.
The national goddesses under the lens of the first directors often have a strong national character, and they are very clear that the core of what they want to express is not the individual, but whether the actor's grasp of the national temperament is appropriate.
Actors not only need to match their appearance, but also their body expression needs to fit with the nation.
Posture, movement, expression...
Every expression in their bodies must have a national charm
The first directors not only focused on individuals, but also group portraits were very important subjects, and the concept of region always took precedence over a certain characteristic.
So in the films at that time, the national beauties we saw were usually vivid and flexible, and this sense of nature actually came from the director's shaping of the surrounding environment.
If you observe a little more carefully, you will find that each actor's eyebrow shape, contour, makeup, hair accessories, etc. are different, on the basis of retaining the national character, it also takes into account the actor's unique personal temperament.
The national beauties under the lens of the original director are far more than Guli Naza and Di Li Gerba.
So forty or fifty years ago, when national beauties were mentioned, all that came to mind were different people
In addition to ethnic beauties, Han beauties are also diverse.
The director will not deliberately pursue the so-called small V face when selecting people, and "face like a silver platter" can also interpret a thousand charms
The plump sense of ancient beauties can also be displayed in the slightest, and the style of the Great Tang Dynasty is by no means lingering in the thin body like in later generations
Bright and atmospheric looks were the most popular style at that time.
The beauty of the actor does not depend on makeup and post-production technology, and the facial features themselves are enough to support the shot
The original directors did not have such a deep obsession with contours and bone physiognomy as they do now.
The combination of facial features with a good foundation on the face deduces a more landed, close-knit beauty
Blunt faces are not excluded from the screen.
Thin eyebrows + slightly drooping corners of the eyes, perfectly interpreting the woman's sorrow
Little Fresh is also not unique to Japan.
As early as forty or fifty years ago, the configuration of fisherman's hat, sea and daylight was already built into the shots of the original director, full of freshness.
Carnal is definitely not pejorative.
At that time, the sense of flesh reflected the sense of growth and vitality of a girl, and the definition of beauty was by no means the skinny and single shape of clear soup and water.
And this is the Chinese beauty under the lens of the first director -
There is locality, there is nationality, it can be delicate and beautiful, or it can be full of power.
As we miss them,
What exactly are you missing?
I believe that the treasures are like sheep, brushing down the Meitu all the way, and there must be a feeling of being beautiful in their hearts, because this kind of diversified beauty does not seem to exist in the current internal entertainment.
Indeed, the aesthetic style of the original directors has always been independent of subsequent directors.
In the era when the film and television industry has just entered the mainstream, why can they maintain the uniqueness of aesthetics?
Roles are always greater than individuals
The aesthetic model of the original directors is fluid because their casting aesthetic almost follows the characters.
A default principle: characterization is always greater than the individual actor.
For example, when the news that "Dream of Red Mansions" was going to start filming in 82 was released, everyone was speculating about which big name Lin Daiyu's role would be set in the end.
Many people guessed that it was Liu Xiaoqing, and as a result, "Popular Film" announced the use of new actors in 83.
As soon as the news came out, Lin Daiyu's character received more than 30,000 registration letters.
Lin Daiyu is a beautiful girl, but in all the letters, Chen Xiaoxu is not the most beautiful, nor the most delicate, but the temperament fits Lin Daiyu perfectly: thin, hesitant, sentimental.
And the reason why she can stand out among 30,000 people is because of this unique temperament.
"I'd rather have this temperament than choose her as Lin Daiyu."
Classics become classics because of the success of character building.
Is beautiful the only answer? Of course not, at least not at the time.
In addition to Lin Daiyu, Yingchun was selected because the casting director accidentally met a girl on a bicycle on the road; Miaoyu is a temporary worker in a leather shoe factory; Motoharu is an ordinary salesman.
They don't have a good background and absolutely perfect beautiful looks, but together they have performed the "Dream of Red Mansions" series with the fewest bad reviews in history.
When the charisma of an actor fully serves the character, a classic is born.
And different from the casting logic of "Dream of Red Mansions" is "Journey to the West".
The charming leprechauns in Journey to the West all have one common requirement: beautiful.
Being beautiful is a "necessary condition" to "seduce" Tang Monk, so the crew did find a lot of beautiful girls at the beginning.
But the word "beautiful" is conditional.
For example, the apricot fairy needs a beautiful, dusty look
The king of the daughter country needs both modesty and tenderness
If you look at the characterization a little more figuratively, you will find that the difference between the first directors and the later directors is that the beauties under them are often best known for one image.
For example, Chen Xiaoxu is Lin Daiyu's "herself", no matter what role she played after becoming famous, she is still Lin Daiyu.
This is not because their acting skills are not perfect, but because they were selected to serve the initial roles at that time.
Finding the most suitable person to play the most suitable role is the original intention of the first director.
And it is precisely because of this original intention and unconditional loyalty to film and television responsibility that so many screen classics have emerged in China forty or fifty years ago.
The purity of the original director
What is pure?
Without any whitewashing, you can become a classic.
The first is the purity of the actors.
As Yang said above, even though the actors at that time did not pursue absolute refinement in terms of appearance as they do now, their mutual fit with the role has become the best personal business card in the industry.
Purity is not only necessary in casting, but also in the original intention of the director team.
Why did the original director shoot so many national beauties?
Because it was before and after the reform and opening up, the spiritual demand at the cultural level was greater than ever, and the development and support of ethnic minorities was one of the goals of the state.
From a worldwide perspective, ethnic minorities can represent China's locality.
They photographed Xinjiang, Mongolia, and Tibet, but they actually filmed Chinese stories and showed the image of China.
The original director's dedication to nationality is also pure to moving.
For example, Xie Fei's "Black Horse" uses his grandmother's tolerant attitude towards pregnant girls to show that Mongolians have integrated their understanding of nature into their own life philosophy.
Another example is "The Girl Who Wasn't an Actor" is actually a "self-introduction" in Xinjiang Province.
Xinjiang style, Xinjiang wonders, Xinjiang people, and Xinjiang characteristics are all in this film, which transmits the regional concept of Xinjiang to the whole country and even the world through the screen.
The reason why the first generation of directors is the most special generation is because they have too much epochality.
The ideas they want to convey are often large and concrete, blending their home country, nationality, and deep cultural identity, so the subjects they photograph are usually ethnic groups and famous works.
We always say that a particular era has a specific aesthetic, and the aesthetic of that era will never be copied.
The sincerity of the artwork is the best business card, purely the best choice.
Why do we miss that era the most?
Because for film and television works, the most touching thing is never the exquisite and perfect actors, but the purest and most sincere heart behind the beautiful face.