After watching the screenwriter's interview, I finally understood why "The Road of Life" dared to shoot like this!

"The Road of Life" has caused great controversy since its launch.

For this drama, it can only be summarized in one word, that is, "dare"!

Originally named "Life Lu Yao", it was suddenly changed to "Life Road" before it started broadcasting, and now after watching the show, you will naturally understand why it was renamed. Because "The Road of Life" really has little to do with "Life", but it has to be interpreted against this classic IP propaganda and the names of the characters in the novel.

The distorted service, scenes, distorted characters, and distorted plot make the whole drama lose its era texture, and finally become a more traditional and tacky genre drama.

Why did the screenwriter and director dare to make up and shoot like this, and after watching the screenwriter's interview, I finally understood.

"Xinmin Evening News" interviewed Hong Jinghui, the show's chief screenwriter.

In fact, "The Road of Life" has two screenwriters, one is Hong Jinghui and the other is Weixi.

And the two are not newcomers, among which Hong Jinghui, born in 1979, graduated from the Department of Chinese of Fudan University and the Department of Drama of Shanghai Theater Academy, and is also an academic screenwriter. In his early years, he was mainly in the theater circle, and then entered the TV drama circle.

He has successively served as the screenwriter of the indoor sitcom "Home with Aliens", and then served as "I Am Durala", "Dear Translator", "Shudder, Abe! " and other dramas.

In terms of the entire resume, the experience is not very rich, especially in the TV drama industry, it is still quite limited.

The other screenwriter is a writer, and his screenwriting experience is even more limited, mainly serving as the screenwriter of the movie "Children Those Things" and the TV series "Mountains and Seas", of course, we all know that "Mountains and Seas" has many screenwriters and is a big project. However, the screenwriter has written novels such as "Children of the Qiao Family" and "Guoguo's Marriage", especially "Children of the Qiao Family" has been adapted into a TV series and has a good reputation.

From the perspective of screenwriting status, both have limited qualifications.

In an interview now, Hong Jinghui said: "The principle of my adaptation is - respect the original work and continue the context", trying to highlight the intention of the original work.

Isn't it a little ridiculous to see such an answer.

If this is the case, there will be no scolding.

But I have to say that it does continue to write a lot of things.

According to her, the whole drama began to fully enter the Shanghai background in about 20 episodes.

Gao Garin then came to Shanghai, where he became a newspaper reporter and eventually a writer.

Liu Qiaozhen also came to Shanghai, starting from working as a nanny for the grandmother of the Fu family, and began to start a business step by step, and finally succeeded in entrepreneurship.

Huang Yaping and her father were originally from Shanghai, and they both returned to Shanghai.

And Gao Shuangxing himself studied at university in Shanghai.

Emotional entanglements are the focus of the original work, and of course they will also be depicted in the TV series.

Screenwriter Hong Jinghui said, "Liu Qiaozhen and Gao Garin, Gao Jalin and Huang Yaping, in different historical periods and environments, are evenly matched emotions in both directions. "The college entrance examination is a lifesaver for Gao Garin; Gao Garin is Huang Yaping's lifesaver..."

As for the adaptation, screenwriter Hong Jinghui specifically mentioned that the current reality is that the number of film and television drama audiences is definitely higher than that of readers. Therefore, the essence of making young film and television drama audiences like this drama is to be real, especially the truth of the characters' emotions.

I have to say that screenwriter Hong Jinghui knows the current situation of the film and television industry very well, in other words, her drama is written for young people, but for the truth she mentioned, I don't know how many audiences will agree with it.

But the emotions of men and women in the play are indeed in line with the aesthetic preferences of young audiences today, such as Liu Qiaozhen's secret love for Gao Garin, and it is a balloon release, and shouting on the street, which is a very idol drama.

In addition, she also said that there are two levels for a drama.

The first layer is the city story, "first of all, we must write a story that the people like";

The second layer is to reflect the values and life situation pursued by the individual, "As a Shanghainese, I definitely want to integrate Shanghai into the play, especially the urban theme and even today's "The Road of Life" such a big work that reflects the development process of China's urban civilization."

I don't know if she herself laughed after saying this, anyway, some people must have laughed first.

At present, the show has aired 7 episodes, although the plot is gradually getting better and starting to return to the right path, but there is not much newness, and the first few episodes are even more indiscriminate, otherwise there will be no scolding.

The sense of age is seriously distorted, and there are many service roads, scenes, lines, etc. that do not conform to the era, first of all, this does not respect the original work, does not respect history, and the people will not like such stories. And Shanghai's integration, while reasonable, is clearly too personal.

As one netizen said:

"Let a playwright who is immersed in the cultural feelings of the Shanghai school adapt literary works born in the yellow earth, and do not understand the rural areas of northern Shaanxi in the early and mid-eighties, and adapt it from the original work with your own imagination, how can you write a script that satisfies the audience."

Although screenwriter Hong Jinghui was born in the late seventies and is also a person who has experienced the eighties and nineties, after all, she was born and raised in a big city, and she has no experience of living in a remote area, plus she is an academic screenwriter and a drama screenwriter, which makes her unable to put herself in the shoes of the characters in "Life" and the sense of age.

In the end, it is a period drama that is built behind closed doors, imagined out of thin air, and adapted to cater to the current young audience.

For the entire plot presented by "The Road of Life" now, it is basically consistent with "Happiness to Ten Thousand Homes", and "Happiness to Ten Thousand Homes" is also adapted from the classics, but it obviously jumps out of the times and is placed in the present, but "The Road of Life" is not like this, but still chose in that era, and there were many inappropriate settings.

In "Happiness to Ten Thousand Homes", there is a plot of imposters going to college, and there is a plot where the protagonists enter the big city to work hard, and now in "The Road of Life" it is also interpreted in the same way, basically has fallen into the stereotype, naturally can no longer become a classic like a classic.

Why are remakes and adaptations of classics repeatedly overturned today, obviously the screenwriter has to bear a lot of responsibility, on the one hand, the lack of experience, on the other hand, the lack of investigation and research, and finally compromise for the market, losing the responsibility that the screenwriter should have.

"The Road of Life" is not "Life", naturally there is no need to judge "The Road of Life" according to the standards of "Life", but as an adaptation, you still need to respect the original work, and as a period drama, you need to follow the creative laws of the period drama, rather than arbitrarily adapting, otherwise it is self-destruction of word of mouth and lifting a stone to shoot yourself in the foot.