Recently, Ma Yili has been ridiculed fiercely.
It is controversial for starring in the beautiful and dangerous beauty Zheng Dongni who is as beautiful and dangerous as a mythical water demon in Di'an's original Dragon City trilogy ("West Decision", "East Ni", "Nanyin").
A big reason: it doesn't fit your face.
Viewers imagine the unbridled beauty of the Middle East, at least.
The 10,000 styles of Dongni should be like this.
But Ma Yili in "Dragon City" appeared like this.
Although Ma Yili tried hard to make up for the gap in image with her acting skills.
But sometimes there is a bit of ambiguity with Bai Yu's cousin Xi Jue (no blood relationship), and he is soon woken up by a sense of "aunt and nephew".
The biggest effect of Ma Yili and Dongni not being close to each other is to tell us: orthopedics is a cult, and who is afraid of whom.
But instead of following the trend and mocking Ma Yili, I myself am more curious about another thing:
Found no, Ma Yili seems to always play the role of "three incorrect views".
It is clear that in the eyes of the public, she is a traditional good wife and mother, and once she comes to the play, she must break through the traditional concepts.
Others are rushing to play some flattering characters, using the light of the characters to increase the popularity of passers-by in reality. She specializes in some contrasting and annoying scripts, and she can't eat half a circle of pink dividends.
What does Ma Yili think?
The "three views are not correct" of the Dragon City trilogy needless to say.
The biggest attraction of the first nine episodes of the TV series is that Xi Jue watched his fiancée become a little aunt.
His fiancée Chen Yan had a crush on Uncle Xidu in high school.
The secret but measured teacher-student love between the two was disturbed by Xiaoshu's ex-wife pretending to "catch rape", which caused a sensation in the whole school.
The sadomasochistic triangle is inherently sadistic, and it has also escalated into a moralist literature in which uncles and nephews fight for a daughter.
Whoever is put in this dispute can be whispered by neighbors for ten years.
Not to mention the ambiguous feelings between cousins Xidu and Dongni, there is also the ambiguous feelings of mutual torture and redemption.
In the original "West Decision", Dongni likes to break up all his girlfriends in Xi Du, and does not let him have a good time emotionally, Xi Du has long known, but does not debunk it, and willingly bears it, cleaning up the mess for her and taking care of her son with cerebral palsy.
Dongni has always wanted to take her father's hair for a paternity test, and she subconsciously hopes that she is not a child of the Zheng family, so as to clear herself from the parents who hurt her, and the person who is not the child of the Zheng family is Xidu.
Even if there is no blood relationship, the two will never be able to cross the human ethics of being treated as brothers and sisters since childhood.
The trickery of human ethics has always been the deepest tragedy of fate, such as Zhou Ping loving the four phoenixes and Oedipus killing his father and marrying his mother.
In this sense, the corner of Dongni is indeed shocking enough.
Ma Yili's second role that easily makes people feel like challenging public perceptions is Luo Zijun in "My First Half of Life".
In the public concept, cheating and being a junior should be condemned, otherwise there would not be so many scumbags and tearing mistress dramas that poked the audience cool.
This drama is good, the male protagonist cheated on his girlfriend's girlfriend, and the female protagonist likes his girlfriend's boyfriend, and filmed all the points that the public hates.
Moreover, after Luo Zijun was "three", he "three" his girlfriend, which is "added to the crime".
As transparent as Shi Nansheng, he has long said that the affairs of two people have nothing to do with the third person. That is to say, without Luo Zijun, He Han will also break up with Tang Jing. Maybe this drama wants to discuss a little bit of people's struggles, hardships and involvement.
But judging from the angry message with the highest praise on Douban, such a three-view challenge is still difficult to accept.
"No matter what kind of plot development, what kind of two loves are happy, what kind of reasons and reasons, being with your girlfriend's boyfriend is just unforgivable."
10 years back, Ma Yili's Charlene in "Struggle" (2007) is a dashing big hostess in the memory of the post-90s.
But by now, it is likely to be picked out as a flawed big heroine.
Like Luo Zijun, she also has the bridge of "liking girlfriends and boyfriends".
Girlfriend Milley introduced her to her boyfriend Lu Tao, but she didn't expect Charlene and Lu Tao to fall in love (of course, looking back, Lu Tao is scumbag and entangled with two people at the same time).
Thanks to the fact that public opinion in the early years did not use the three views to judge literary and artistic works, these works that reflected the truth and complexity of human nature were preserved and would not be self-castrated.
Piao is curious about why Ma Yili always plays the role of "three views are not correct", and it is not to deny the role and the drama.
Instead, she noticed that Ma Yili always seemed to be entangled in the ambiguous and ambiguous gray area of human nature, and in an unconscious way, she gently scratched the audience's counterscales - which gave her a reputation for good acting skills, but not many roles that were really pleasing.
I remember "Beishang Guang Don't Believe in Tears" broadcast in 15 years, and the most talked about selling point at that time was Ma Yili's revenge article and Zhu Yawen staged a large-scale passion drama.
Also attracting attention along with the passion drama is that the play has fallen into the "three views are not correct" controversy.
The reason is that "the male and female protagonists do not hide their desires" and "selfishness, unscrupulousness, and ignorance of rules", the audience is frightened by such grayness and sharpness.
But in the director's opinion, he picked up this unpleasant drama from a crowd of dislikes, which is also a bit rebellious.
I want to use the rough gray side of human nature to burst the dream bubble created by the screen full of "Mary Sue Jack Sue" and "Silly White Sweet".
Source|Beijing Youth Daily ""Beishang Guangzhou" was criticized for "three views are not correct", do we need "bad dramas"? Author Yang Wenjie
The ambiguity, roughness and uncuteness of the characters have led to Ma Yili's heroine dramas/films always making wedding clothes for her.
"My First Half of Life" completes the independent woman Yuan Quan;
"Love Myth" Ma Yili played by Miss Li, although she is a refreshing urban woman, she still becomes the most pleasing Ni Hongjie.
Especially when you know that nine out of ten of these roles are still Ma Yili actively want to play, it is even more worth playing.
I think this has something to do with Ma Yili's understanding that the world has a set of feelings and logic that she believes in.
Talking about the First Film Festival that year, Haiqing pulled several middle-aged actresses to seek opportunities with the director and producer under the stage, and also mentioned Ma Yili.
It's just that Ma Yili was busy participating in the venture capital conference at that time and was not on stage.
You will find that several middle-aged actresses in similar situations have different drama paths.
Haiqing followed the path of national daughter-in-law and excavated the spiritual characteristics of traditional women; Song Jia continues to be suspicious in literary films; Yao Chen is on the road to breaking through female stereotypes.
And Ma Yili continues to be busy astounding the world in terms of concepts.
When asked if she had an age dilemma, she denied it outright.
Actually, I never felt it
The market is not friendly to actresses of this age
Very young actress
We simply can't get the roles we can get right now
It's not that you're stereotyped by someone else
It's how you define yourself
Source|"Big pound is coming"
Ma Yili can say this thing that is completely contrary to the public's expectations, not that she likes to show uniqueness with rebellion.
40+ actresses who have read thousands of sails and are famous are already past the age of rebellion and do not need to attract attention in this way.
She can say that, it means that she really thinks so.
And she can think this because she has always been good at taking the initiative, very believing in her feelings and experiences, and stubbornly sticking to it.
Watching Ma Yili's interviews, I am often amazed at how deep she knows herself.
In 19, Ma Yili starred in the role of Lu Xiaoou in "In the Distance", and this role was created by the screenwriter based on her character.
So she talks about the role and to some extent about herself.
She said that Lu Xiaoou has a particularly high heart and is naturally full of fighting spirit, and she likes challenging men, which can make her have the desire to submit.
Source|Phoenix Network "Very Dao"
The host asked, does she prefer herself to such a woman? Men are just a reference, nothing more than different levels of difficulty.
It's a question that explores the depths of the heart and tests the interviewee's level of introspection about themselves (their roles).
Ma Yili immediately got the meaning of the other party and agreed: "You are very right. ”
Then she added the experience that she would bond with someone who was the opposite of her, who she aspired to be.
In this way, when she likes the other party, she also likes herself, so she said that "the male protagonist Yao Yuan is actually Lu Xiaoou's self".
Source|Phoenix Network "Very Dao"
It's hard to see an actor dissecting himself like this, not hiding his desire to surrender at all, and loving himself more in the relationship.
A person can be so calm, not so much self-confidence, but already not afraid of the consequences of unflattering.
That is, everything is under control.
Including the current choice, the consequence is to be hated, which is also within her expectations.
After so many years, I have status and resources in the circle, constantly participate in venture capital conferences, be a judge, encounter a suitable script such as "Love Myth", and can personally go into battle, not only to support young directors, but also to find opportunities for themselves.
She really doesn't need to market herself desperately, just to show everyone the good side.
Second, strong, controlling people have a trait – they are always preparing for the worst.
She is afraid of losing control, afraid that she will not be able to grasp it, so she has to hold everything firmly in her hands and make herself feel safe.
Source|"Reader"
Ma Yili mentioned that she once took her daughter on a trip abroad, and when she arrived at the airport, she found that she forgot to bring her daughter's old passport (her visa was on the old passport), she could not board the plane, and there was no next flight, so she could only change her visa tomorrow.
At that moment she was overwhelmed by self-blame and helplessness, self-denial and doubt, and tears fell down her eyes at the check-in counter.
For some relaxed people, it is just a delay of a day, it is nothing, for Ma Yili, out of control will collapse.
And she has to handle the travel matters alone, only she can clean up her heart.
This is also a manifestation of nervousness, anxiety, and insecurity - so many things she would rather carry alone, will slowly become believe in herself, believe in strong thinking.
It's not that middle-aged actresses don't have a dilemma, it's Ma Yili who "doesn't" dilemma.
Strong thinking makes her not good at complaining about the environment and others, and always prepares and solves herself before difficulties arise, so she can always appear with an indifferent and confident face.
Similarly, when evaluating others and things, it is inevitable to start from oneself and therefore not necessarily consider others. All her choices are to be cool first, and as for others, she doesn't care.
Character attributes or self-image.
Annoying is the inevitable result of her active choice.
Ma Yili never seemed to deny herself.
When she was young, she was like Charlene, with Guan Hu, a big man in the Beijing circle, Guan Hu once came home and found dirty clothes in a place, and asked her why she didn't wash it, Ma Yili said back:
"Why should I do laundry!"
Another time, Guan Hu was busy and came home late and wanted Ma Yili to cook him bowls of noodles, but Ma Yili, who was also very tired from a long day of work, refused, saying:
"Why do I have to cook, my father and my mother haven't eaten my cooking once."
Ma Yili in Charlene's period, even if she is willful and self-sufficient, will definitely be an independent, personality, dashing big woman that girls like.
When she grew up to Luo Zijun's age, had a marriage, had children, encountered betrayal in front of national netizens, and also went against the wishes of national netizens, chose to forgive, and finally when national netizens were about to forget this old gossip, she officially announced her divorce.
Her choice is still as independent and bold as when she first married the article.
It's just that when it follows the public, it is called dashing; When it goes against the masses, it is called stubbornness.
And after experiencing this experience, Ma Yili, who would have disliked Luo Zijun's nest at the beginning, has already understood "Luo Zijun's compassion and desolation".
Her complex and obscure experience of human nature has far surpassed that of young girls, but young girls still like Charlene.
That is, the audience can resonate with her when she is young, and the audience is still young after middle age, and it is inevitable that there will be dilemma of different frequencies.
Just like when she became a drama examiner, she resolutely did not want plastic surgery. She felt that if she didn't even have the confidence and courage to show her true face, how could she act well?
The audience feels that she is a bit demanding, and it is inevitable that she will not be confident when her appearance is rolled up, and not everyone is as strong as her.
She is still a strong person who will not speculate, and like the director of "Bei Shang Guang", she transforms the seemingly disjointed loneliness into active proof.
In this year's broadcast of "Unfolding Talk", Ma Yili's independent views were once again respected.
She said that the current big heroine has no flaws in her character and will not make any mistakes, which is too unrealistic. But as long as your life is moving forward, you will definitely make mistakes, and in turn, because of mistakes, life will move forward.
So far, why do you say that Ma Yili always takes on some roles with "three incorrect views"?
Her life experience has made it impossible for her to accept some absolute, binary thinking, or absolutely positive, positive, simple characters.
And she, who has always known how to give herself an umbrella, is precisely qualified to choose a role, and can still match her words with deeds.
Having experienced a lot of gloom, she has long been prepared for unpleasantness, and even has a little stubbornness to practice, to prove, to endorse human nature to understand.
But sometimes this overly self-stubbornness is also a kind of stubbornness.
I found that some of the roles she likes to play, like the people she would choose to be with, are diametrically opposed to her life.
Ma Yili's life is filming, working, taking care of her two daughters, and she is busy and ordinary like all middle-aged women who have to take care of work when they marry and have children.
But she rarely plays the role of mother and wife with strong attributes.
It gives people a kind of "original match" in life, and the play is to be a "junior" to have fun, so many ugly clothes in the play, but it is necessary to walk at the forefront of fashion, regardless of the sense of fighting for others' lives and deaths.
She will appear in the cusp of "Huan Zhu Gege", "Dragon City" and "Blossom". Of course, some are boutique, some are disasters, and some are yet to be verified.
"Huan Zhu Gege 3" Ma Yili as Ziwei
She did say that her greatest satisfaction is that she can devote herself to another life to experience a different life.
This is a great joy for her.
It is reasonable to imagine that the characters who are diametrically opposed to her life, or even unrelated to her, may simply be experiencing adventures to compensate for some lack of life.
It is a balancing technique adopted in life in order to keep oneself grounded.
Again, she dares to take risks, is not afraid of unpleasantness, is not afraid of overturning, is not afraid of criticism, because in her own world, life is under control.
When the host asked her: Would you mind that the unexpected world paid too much attention to her emotional life?
She said she didn't mind because the work was in her hands and she could define herself. I don't care how the outside world labels her and evaluates her.
Speaking of this, I know why Ma Yili dares to play Zheng Dongni, who will shake their heads when they think of each other.
She has a personality that values her own needs so much and somewhat ignores the needs of the audience.
When a mistake is made, only the audience pays.
The problem is that the audience also has feelings for the characters, especially this kind of character with a filter of adolescent books - she herself has the melancholy and yearning of a generation of post-90s.
For example, to use a popular phrase that middle school students like to depict Dongni, it is a banshee from the edge of hell who steps on a broken bottle, but holds her head high and drags her broken body, but lives warmly and extremely flamboyantly.
Dongni's exiled posture is in line with a certain non-mainstream psychology of middle school students.
Therefore, Dongni must be beautiful and gorgeous, only in this way will people tolerate her misdeeds.
In the adaptation of the drama version, the concentration of beauty is reduced, and the intensity of misconduct is also reduced. The youth literary film industry has become a middle-aged family ethics drama.
Although Ma Yili's acting skills are passable, the play restores the classic scene in the novel:
When Dongni saw the tall and tyrannical father who could throw her five meters away with one hand, now lying motionless like a lizard on a hospital bed with tubes inserted, she was immediately so scared that she wanted to escape.
Ma Yili can express the complex mood of the characters with a sense of drama.
But at some point you will still see in her tired, sharp eyes:
How can a person at this age still be as rebellious and crazy as a twenty-six-seven-year-old Dongni, unable to reconcile with himself?
In fact, the serious discrepancy between age and appearance is difficult to make up for with acting skills.
Just like time cannot be turned back, you have a pair of eyes that have read thousands of sails, how can you perform the ignorant and fearless excitement of girls, and their arrogance without consequences.
The disparity in appearance, too.
It is not that Ma Yili is not beautiful, her beauty is restrained and delicate, and she tends to be beautiful without knowing it.
And Dongni is flamboyant and amorous, and has known his beauty since he was a child, and knows how to exchange beauty for money.
The difference in the middle is exposed with just one look.
Since childhood, he has thought himself beautiful, and standing there exudes an atmosphere of self-centeredness.
For example, Shu Qi, who has recently been praised as an undefeated beauty for years, although her personality is not ostentatious, she knows her beauty and knows that as long as she stands there, she will gather her gaze, of course, casual and relaxed.
Source: Weibo @Shuqi
The unbridled acting is not the same as having no fear because you know beauty.
Ma Yili's eyes are not at all conscious that big beauties naturally feel that they have immunity.
Even if you remove a long curly wig, the image is like an elf and livelier, but it is different from the water demon's lonely and self-destructive temperament.
Dongni's beautiful image, and everything that comes with it, is too deeply rooted in people's hearts.
Audiences inevitably have preconceived stereotypes.
And Ma Yili has always had her casting preferences - liking gray, ambiguous, complex human nature, and experiencing adventures different from her own.
The audience and her, each other is too convinced of their own feelings.
Feeling consistent becomes and inconsistency is bad.
So Ma Yili can be Miss Li who is worth touching, or Zheng Dongni who is not right.
Ma Yili probably won't change herself.
And the audience, probably will not change the bad reviews.