On the evening of September 27, the TV series "Burning Earth" premiered on Shandong Satellite TV and Anhui Satellite TV. Starring Chen Long, Chai Biyun and Xu Xiaosa, the TV series tells the story of how the warlord gongzi finally joined the anti-Japanese ranks. Earlier, because this TV series was broadcast on the terrestrial channel, the drama was once considered by some fans to belong to the anti-Japanese drama series. However, after the end of the two episodes of the drama, I think that "Burning the Earth" cannot be classified as an anti-Japanese drama, which has characters and tension and points to watch, and belongs to a relatively good quality work.
"Burning the Earth" is considered by some audiences to be an anti-Japanese drama, probably because in the opening part of this TV series, the protagonists did not do anything serious, and in the narrative of some content, there are also some bridges that are not serious enough. In particular, the way some comedy bridges are handled makes the audience feel that this TV series is not serious. On this issue, my opinion is that "Burning the Earth" uses the method of wanting to promote the first and suppressing, and the rich children at the beginning are not very serious, or even do not do anything serious, in the service of the development of the roles behind.
If there are no accidents, the audience can see the growth of the male protagonist and even the female protagonist in terms of personality as the plot develops. The writing style of "Burning Earth" is more traditional and standardized, and the male and female protagonists follow the development of the plot and achieve the gradual improvement of their personalities. Therefore, in the opening plot, the male protagonist is portrayed as a love brain, the female protagonist is portrayed as a rich woman with a big grin, etc., there are not too many problems. With the advent of the War of Resistance, the personalities of the two characters will develop in the right and stable direction.
For some drama fans, it is really impossible to think that all TV dramas with anti-Japanese themes, with low shooting costs, are classified as anti-Japanese dramas. The so-called anti-Japanese drama needs the plot of Thunder Man, and the character design that cannot be scrutinized. In this "Burning Earth", the first two episodes of the content, there is no thunderous plot. In terms of character design, it is also possible to see the wisdom of the screenwriter. In the opening two episodes, the male and female protagonists have clear personalities, and even the personality characteristics of female number two are very clear. In terms of character building, the play has a superiority.
The opening two episodes of "Burning The Earth" deliberately look for a kind of "drama". And this taste is mainly unfolded through the main line of the male protagonist helping the children to redeem themselves. This main line of melody connects basically all the characters of the play. The method of creating an opening story that connects all the characters is also more traditional and academic. Obviously, the screenwriter of "Burning Earth" is very knowledgeable in the industry. As for the "taste of the play", I think the rhythm control of the female number two and her boss is very in place.
The male protagonist loves the brain and wants to help the supporting role of the children to redeem themselves. Of course, the owner of the theater wants to sell this female drama for a good price. On the one hand, the female dramatist must cooperate with the boss's acting and defraud the male protagonist's money, and on the other hand, she must maintain an ambiguous relationship with the male protagonist, so as to obtain the opportunity to let him help redeem himself. In these bridge sections, the character's personality can stand up, and the dramatic tension can also come out. It is equivalent to saying that this opening story can establish all the characters within the scope of the needs of the play.
In terms of narrative attitude, this TV series obviously follows a commercial style and does not comply with serious requirements. We can see the screenwriter's high skill in shaping the personality of various characters and choreographing. But at the same time, we can also see that the screenwriter deliberately presents these bridges in a light and humorous way. This light-hearted humor can be a double-edged sword. On the bright side, audiences who like this style will find the story rich and interesting, and the characters are novel and bright. Those who do not like this style may think that the narrative is not sincere.
In terms of the role of the actor, I personally believe that the ability of the heroine and the supporting actress to achieve is worthy of recognition. The heroine presented by Chai Biyun clearly shows how a rich family has the courage to participate in the revolution. The reason why I say that this TV series is not an anti-Japanese drama is because it has a very good character portrayal. For example, the warlord sends the heroine home, blindfolds her, and wants to shoot her, but in the end, she is released. After this shock, the heroine cried bitterly and scolded the warlord. This is the best presentation of the return after the brink of human life and death.
The supporting actress presented by Xu Xiaosa, that is, this drama in the play, is really the biggest attraction of the first two episodes. This role needs to be "playing the upper body", and the state presented by Xu Xiaosa is just right. This is the typical principle of play-within-a-play performance. Actors belong to acting in their works. Inside the plot of the TV series, the supporting actress is also acting for the male protagonist. This is typical acting. This kind of play-within-a-play part really tests the actor's performance ability. Personally, I think that Xu Xiaosa's presentation is just right.
Of course, the quality of the show later needs to be observed. (Text/Ma Qingyun)