Author: Zeng Nianqun
Halfway through the broadcast of "Warm and Sweet", director Liu Jiang threw out "whether he insisted on hiding his boyfriend for four years and did not give him a proper body", "colleagues misunderstood whether the mistress had the obligation to prove his innocence", "whether the fiancé proposed that the woman's own house should be agreed to add his name", "whether to cancel the wedding if he learned that the groom was unreliable", and the latest episode threw out the hot topic of "whether the new boyfriend borrowed a huge amount of money or not", which has the tendency to carry out the strange questions that young people like to see to the end.
"Warm and Sweet" is another realistic urban emotional masterpiece directed by Liu Jiang after "Daughter-in-law's Beautiful Era" and "Let's Get Married", the play is starring Song Qian, Chen Yanxi, Lu Yi, Jing Chao, Sun Jian, etc., as well as Pan Hong, Wu Mian, Yue Hong, Yang Qing, Shi Jingming, Tian Min and other old drama bones escort, since landing on Hunan Satellite TV and Mango TV on May 3, it has dominated the prime time of CSM Satellite TV and the double championship of ratings and share of the whole network.
Such a performance is easy to equate with its means of prying the topic, but a slightly attentive audience will find that in addition to a wave of uneven and uneven sharp topic offensives, the play is more about the charm of the character core and reality care.
Value line, the adventure and watch of women in the times
"Warm and Sweet" takes the path of female girlfriends of the two heroines, but unlike the much-criticized "female competition" style, the women in "Warm and Sweet" do not have traces of patriarchal society, but highlight the characteristics of women of the era. The two heroines Nanfei and Qi Jiayi not only have the independence and responsibility of the big heroines in circulation in the previous decade, but also compatible with the virtuousness and virtue since "Longing" in the nineties of the last century.
In the face of Chen Fang's seclusion, Nanfei, as a genuine girlfriend, has the forbearance of a traditional woman. While carrying her parents to urge marriage and silently protecting love, she accepts the incomprehensible reality that the other party's parents do not know where they are, and at the same time has to bear the misunderstanding and difficulties of her colleagues' "junior". She was able to persevere for four years under family and emotional pressure, and she could dismiss the misunderstanding and discredit of her colleagues, but when asked to save her job by apologizing against her will for something unwarranted, she resolutely chose to say no, even at the cost of resignation and future.
Nanfei is a minority of women whose attitude is above all else. She comes from a medical family, beautiful and top-notch since she was a child, went to a prestigious school, is a returnee, worked hard and persistent, and her excellence since childhood made her always confident, and she knew what she wanted and didn't want. She can balance herself and endure for four years in the face of her watchful love, but she is firm in the face of the work of dedication.
Qi Jiayi is the majority of contemporary urban girls. She is not beautiful enough, her grades are average, she barely goes to a junior college, and her job seems to be average. Fortunately, she is down-to-earth and diligent in her work, and in Shanghai, where every inch of land is expensive, she is also a small fragrant food to be married. Qi Jiayi and misfortune are because of such an excellent girlfriend as Nanfei, and Nanfei consciously or unconsciously becomes her life lever.
Unlike Nanfei's watchful love, Qi Jiayi is more about attacking from all sides, finding a balance between adventure and trial and error in love. Marrying out before Nanfei is probably one of the few things she can "defeat" Nanfei, and because of this, she once loved Xu Xi in good faith. But when she found that Xu Xi's various unreliability were unreliable, similar to Nan Fei's words, she resolutely flashed away after the wedding. Sure enough, they are a pair of good girlfriends, and they are ruthless people at critical times.
Judging from the currently aired dramas, "Warm and Sweet" is not interested in fighting among girlfriends, nor does it criticize scumbags, including Xu Xi, who snatched real estate, and Chen Fang, who can't afford to put it down, and there seems to be no villain in the strict sense.
In the breakup scene in the second episode, Nan Fei, played by Song Qian, was sad and rained, and Chen Fang, played by Lu Yi, had a very small reaction expression in addition to holding hands and apologizing, which once made me mistakenly think that Lu Yi's performance was not in place or caused by scumbags, and the subsequent situation of Chen Fang unfolded, that is the city government that a mature male love species in a dilemma should have.
And Xu Xi is not an evil person or opportunist, this kind of mom boy is limited by the pattern of life, a little family and love and mud crimes are not to death, lower requirements can also live calmly.
As for the fact that he proposed Qi Jiayi's house plus his name before marriage, vanity is more likely than seeking family wealth, and if it were not for the stimulation of Qi Jiayi's escape, he would not have given birth to a follow-up house robbery.
In addition to Qi Jiayi's ex-husband Xu Xi and Chen Fang's ex-wife Liu Shuting who are suspected of having moral flaws, the other protagonists have a fairly high value criterion. It is far more difficult to find the conflict between characters and drama on the high-value line than to reconcile the characters with three views that reverse the value and distort them.
Sweet love needs a warm marriage to adapt
Including the forced marriage of parents, it is not on the opposite side of children, but more about the difference in life, love and marriage concepts between the two generations. The previous generation had suffered many hardships and even sins, waded through the turbulent and uneasy rapids of life, and stressed the need to plan ahead and rely on the elderly. The men and women in the play are basically over-age youths, and even about to miss the best age to have children, parents, taking Nanfei's doctor mother as an example, are naturally full of countdown anxiety.
In the eyes of the previous generation, when they reach the marriage age, they should get married, and then have children, free love, or matchmaking, or "get on the bus first and buy a ticket later", which gave birth to a lot of so-called proverbs such as "bedside quarrel and bedside and" "husband and wife have no overnight feud", "the sky rains and the underground flows, and the little two fight without revenge" and so on. The previous generation cared about people's fears, did not want to divorce, there were those who loved the elderly, there were those who lived together, and there were many lonely old people living under the co-roof.
The love and marriage concept transmitted by "Warm and Sweet" is different, Nanfei and Qi Jiayi bought a house together and met, if not married to true love, otherwise the two have always lived together and will not separate. And this is exactly the marriage attitude of the new women of the times: if it is not true love, it will not marry for life. This is just a private agreement between two good girls, and if it reaches the ears of both parents, I don't know what kind of tsunami it will cause.
Qijiayi's short marriage is a good lesson. Does Xu Xi have no love for her? Not necessarily. But there are too many impurities in Xu Xi's love, he wants Qi Jiayi's house to belong to his name, loses himself under the majesty of his mother, thinks of revenge on dividing the property after the problem of flashing away, and turns around and throws himself into the arms of a larger gold lord.
Does Qi Jiayi really love Xu Xi? Not necessarily. There are too many kind accommodations in her love, and if there are too many accommodations, it becomes deliberate maintenance, and it is easy to deduce reluctance. Coupled with the irreconcilable strong mother-in-law in the meantime, Qi Jiayi and Xu Xi are obviously not a suitable couple in marriage, and Qi Jiayi will only be a chilling marriage like an ice cellar.
In the past, we always worried that marriage would become the grave of love, but in fact, love without marriage is the real grave. Nanfei and Chen Fang have been in love for four years, and the other party's parents don't even know their existence, no wonder colleagues will mistake this semi-underground love for "junior". Nanfei and Qi Jiayi's agreement not to marry if they are not true love also clarifies the ultimate marriage attitude of the two, that is, sweet true love and warm marriage can not be less. Marriage for love is the marriage that women of the times should have.
Judging from the half-way story, the two heroines Nanfei and Qi Jiayi have ushered in a new emotional proposition, the single Nanfei has to face Ling Jiaoyang's offensive, and Qi Jiayi, who has experienced a dodge, has started a new adventure on the track of sibling love. Nanfei's attitude towards Ling Jiaoyang is clean and neat, and he will never give anyone he doesn't love any chance, which is a responsible attitude for everyone and himself. From her attitude towards feelings, it can be predicted that even if there are such as a drama-within-a-play episode with Jiao Yue, the person who can finally adapt to her is Chen Fang, and Jiao Yue's image positioning is more compatible with Qi Jiayi, who has not yet wiped the gun.
Change and immutability, the generosity and temperature of Liu Jiang-style realism
Director Liu Jiang's urban emotional dramas directed in the past often used a whole drama to explore a spicy topic of the times, such as the relationship between mother-in-law and daughter-in-law in "The Beautiful Times of Daughter-in-Law", such as the reconciliation of "hate to marry women" and "marriage-phobic men" in "Let's Get Married", this time "Warm and Sweet" is obviously much larger. Under the proposition of non-true love and no marriage, the story explores a series of new social issues such as seclusion and detachment, from which we can also see the change and unchanged of director Liu Jiang.
The change aspect, first of all, is that the topic angle is sharper and more minimally invasive. The two heroines came up and broke up after four years of love, one flashed away on the day of marriage, both were ruthless people who immediately crossed the knife, and two fresh and hot women in the new era jumped in front of them.
The story is not eager to diagnose the crux of the emotional life of the two and prescribe medicine, but makes a series of microscope-style scans of the emotional changes in the current society, and uses a light comedy to aim the scalpel at iterative new lesions such as seclusion and dodging. This method is not painful and more minimally invasive.
The second is to explore the perspective to become more invisible and younger. Director Liu Jiang's approach to social issues is not conservative at all, "whether to insist on hiding her boyfriend for four years without giving her body", "colleagues misunderstand whether the mistress has the obligation to prove his innocence", "whether the fiancé should agree to add his name to the woman's own house", "whether to abort the wedding if he knows that the groom is unreliable", "whether the new boyfriend borrows a huge amount of money to help" and other spicy topics that young people pay attention to and empathize with one after another, and there is no trace of people or elders looking down on the younger generations, It is completely using the current behavior logic and unconventional way of young people to show and discuss the new troubles of the times they encounter.
What remains unchanged in the play is director Liu Jiang's consistent realistic observation and original intention of transmitting warmth. From the reconciliation of the relationship between mother-in-law and daughter-in-law in "The Beautiful Times of Daughter-in-law" 13 years ago, to the healing of fear of marriage in "Let's Get Married" 10 years ago, and then to today's "Warm and Sweet", the urban emotional dramas directed by Liu Jiang have always come from the reality of fresh life and gently heal back to real life.
What is valuable is that in the face of various difficulties of the times, director Liu Jiang's handwriting has always been an anti-bitter light comedy path, always with director Liu Jiang's unique generosity and warmth.