The biggest surprise of "I Love You" is not Ni Dahong, but Leung Ka Fai

Author of this article: Li Xiaotian

There are no traffic stars, no small fresh meat, no first-line big names, and no first-line big directors to direct, the box office of "I Love You" has reached 320 million in 12 days of release, and it is possible to strive to reach 500 million.

It was a complete victory. Congratulations.

It is said that a lineup like "I Love You", such a film, can break 100 million, it is already a victory. So far, it has exceeded expectations too much, which is gratifying.

While celebrating, it must be said that it is also a bad film that creates false prosperity.

The mainland version of "I Love You" is adapted from the Korean film "I Love You" released in 2011. Both films are adapted from the Korean manga "I Love You".

Korean comics, Korean works, because there is no cultural barrier, there is no sense of violation, but because of simplicity and moving, so the Korean version of "I Love You" is a masterpiece, and the Douban score of 9.0 is absolutely worthy of the name.

The biggest problem with this mainland version of "I Love You" is that the sense of violation is too serious.

If the several old people in the film are retired cadres, or engineers, executives and the like, they can also be said. But the male protagonist Ni Dahong plays a retired old man who is responsible for maintenance in an amusement park, while the female protagonist Hui Yinghong plays a live-in nanny from the countryside. The main supporting role Leung Ka-fai plays the owner of a scrap station, and Ye Tong is the daughter-in-law of the owner of the scrap station.

The above are all at the bottom of society in China. However, in "I Love You", whether Ni Dahong or Hui Yinghong, or even Leung Jiahui and Ye Tong, they cannot present the spiritual outlook of the people at the bottom of the current society, and their appearance and stories are all ethereal, like castles in the air. Clothes can be worn dirty and worn, but the demeanor cannot be dressed.

Of course, some people say that romance films focus on love, which can be less realistic, and there is nothing at all. But this is also too illusory. Moreover, the means of moving people in the film mainly rely on sensationalism and tears. Supposedly, there is nothing wrong, but this is a group of old people, tears at every turn, crying and crying, the same is too contrary, it seems that tears are too cheap, just like the family.

In the final analysis, South Korea is a developed country, has achieved industrialization, has completely entered an aging society, the story of Koreanization, rooted in their culture, everything is natural, there is no problem. Moreover, there is no phenomenon of deliberately playing ugly in the Korean version, that is, it is intuitively presented. And Ni Dahong, Hui Yinghong, Liang Jiahui, and Ye Tong are all harshly playing ugly, and they are visibly trying to pretend to be the appearance of the bottom people, but they are too deliberate and too late.

In the post-industrial society, the sense of class of society will become blurred, even the waste station manager and nanny, the boundary with other classes is not so large, unlike today's China, the gap between the waste station manager and the nanny and the office white-collar worker, judgment is like a cloud, there is an unbridgeable gap, if the two groups appear on the same occasion, they will not integrate with each other at all, and the sense of class is particularly obvious.

Moreover, in a completely aging society, the elderly are still the mainstream of society, and they are not marginalized at all, and the stories with them as the theme are naturally self-evident and reasonable. But in China, despite the imminent aging society, the problem of youth unemployment is also extremely serious, and social positions naturally tend to favor young people, and the elderly must withdraw from their positions early. Under such circumstances, the aging society is still not the mainstream, and the status of the elderly in society is still marginalized. At this time, the works focusing on the theme of love for the elderly are ahead of their time and adventurous.

However, "I Love You" succeeded. In any case, it is a good thing to celebrate. However, similar works have basically failed, so it cannot be said that this is an inevitable victory, the arrival of the era of old-age theme works.

At the very least, the blockbuster of the same period, "Indiana Jones 5", which is also the main theme of the elderly, hit the street.

My judgment tends that "I Love You" is an accidental success, not enough to constitute a phenomenon.

Relying on sensationalism, you can only reap temporary success, and you cannot go far.

What's more, the mainland version of "I Love You" is too far behind the Korean version of "I Love You".

The most obvious point is that the performance of the male number one Ni Dahong is too thin to support the thickness of the character image.

Ni Dahong in the film, watching the whole film, is still vague about what kind of old man he is. From some fragments, as an old man from the north, he has both the recklessness and boldness of northerners, and he is said to be a very dramatic person. It is said that Ni Dahong can be made into a character like the "old cannon" in "Old Cannon", angular, daring to love and hate, but burdened. A two-hour film that completely tells a series of changes he made for love, and the character has a growth process. However, in this film, Ni Dahong is suddenly very bold, and suddenly twists and pinches, his temperament changes and changes, making people uncertain, lacking a sense of unity, and lacking a proper growth line.

For Hui Yinghong, the excavation of her is not enough at all, relying only on lines to show her past. This is a very lazy and clumsy way of expression, the right way to show the character through the plot, through conflict.

The male protagonist and the female protagonist both have a clear sense of discord. The image of the character is not three-dimensional, and there is a lack of in-depth excavation.

Only Leung Ka-fai, who did not have many scenes, performed beyond expectations.

As a supporting role, Leung Ka Fai does not have many scenes. However, his care for his friend Hui Yinghong, his love for his wife Ye Tong, his doting on his vampire-like daughter, and his tolerance for several selfish sons only a few fragments portrayed the image of an extremely forgiving old man deep into the marrow.

Of course, as mentioned at the beginning, the scrap station manager played by Leung Ka Fai is actually very contrary to the real waste station manager, but this is not bad for Leung Ka Fai, but it depends on the director. Leung Ka Fai has already played to the extreme within the scope of his own performance. It's almost a non-acting, both form and god. If Leung Ka-fai plays not the head of the scrap station in the mainland, but the head of the scrap station in Hong Kong, then the role of Leung Ka-fai is enough to seal the gods. It is a pity that this is not a Hong Kong movie, but a full-fledged mainland film, so that the sense of contradiction with reality cannot be changed. To say that it is not enough, or Leung Jiahui cried too much, and it seemed a little too strong. Even so, he is the best of several leading actors.

In short, I recommend watching the original Korean version of "I Love You", and I really can't recommend this mainland version of "I Love You".

Of course, if you want to be moved by a cheap love, I didn't say it.