After watching CCTV's 8 sets of Kang Honglei's new drama, I sighed repeatedly: Finally, there is a period drama that goes out of my heart

The bureau of domestic period dramas really has to be broken by a big director.

Undoubtedly, period dramas are the hot darlings of domestic dramas at the moment.

From the slow rise of word-of-mouth during the period of "Parental Love" and "Chicken Feathers Fly to the Sky", to the slow and hot ratings of "The Age of Awakening" and "Mountain and Sea Love", and then to the explosion of the whole network of "The World", period dramas have finally ushered in their own good times.

But you found that no, the period dramas of the past two years, there are many hot dramas, and there are not many explosive dramas.

This year's most anticipated and strongest period dramas, "Our Day" starring Li Naiwen and Song Chunli at the beginning of the year, Chen Xiao's "The Road of Life", Xiao Zhan's "The Sea in the Dream" that was broadcast not long ago, the ratings cannot be said to be bad, but it is still far from the circle-breaking grandeur of "The World".

The problem is still in the background of the story.

Period drama is one of the best craftsmanship in Chinese dramas, relying only on the plot of dog blood and catching horses, and the sense of age created by sophisticated production, although it can make the audience more and more addicted, but it is not enough to really move people.

Next, several period dramas have been ready to go, such as "Great Rivers and Rivers 3" by the noon sun, "South to North" by Zheng Xiaolong, and "The Glory of Fathers" by Kang Honglei.

But, to see, you have to wait.

The first half of the year has passed, can't there really be a phenomenal period drama this year?

Unexpectedly, the eight sets of CCTV were silent, and at 9:30 in the second prime time, a good drama was released - "Father's Steppe Mother's River".

Let me really have a sense of tremor of "sitting and lying down after a long illness", not rotten, brush and brush.

The director alone is exciting.

Kang Honglei.

Looking at the actors, there is no top or even a line, all of them are powerful actors such as Ding Yongdai, Siqin Gaova, Tumen, Yu Hui, and Ayunga, telling stories on the Mongolian steppe.

The play is simple and has a rich era atmosphere, but it seems to lack the explosive atmosphere of popular period dramas.

Can it really work?

An episode was released late at night and ranked first in the country.

Even more energetic than the ratings is a sentence said by director Kang Honglei: "Shooting a TV series for my hometown has always been my wish, and "Father's Prairie Mother's River" made me fulfill this wish, and it was completed very simple, without turning back, and vividly. ”

I believe the words of this Mongolian man who filmed "The Years of Burning Passion", "Soldier Assault" and "My Regiment Commander My Regiment".

In the cast of the series, Teacher Tumen and Teacher Xie Yuan have left us.

In a sense, this play is also the final farewell of the audience and the two performance artists.

Then walk together, father's steppe, mother's river.

1, into the play: the curable tuberculosis, the cello that cannot be played, this drama tells the fate of a generation

"Father's Grassland Mother's River", as the name suggests, tells the growth story of the three brothers and sisters of the Mo family who took root in the grassland.

But director Kang Honglei did not focus the camera on the Inner Mongolian grassland at the beginning, on the contrary, he first focused the scene where the second elder of the Mo family took a train from Nanjing to Inner Mongolia.

This scene, both the lens language and the picture texture far exceed many period dramas, and a taste of the sixties and seventies comes to the face.

That sense of age is no longer based on eye-catching filters, era labels, but on precise details like a military kettle per capita, era songs along the road.

The audience seemed to follow the protagonist, lined up in a long line, and walked onto the train that finished driving Inner Mongolia in a burst of enthusiastic singing.

But Kang Honglei turned the story again here, not letting the story follow the train directly to Inner Mongolia, but reversing the story of three siblings in Nanjing a month ago.

Why?

Because what Kang Honglei wants to tell is not only a story on the grassland.

It is also the fate of people.

It is easy to photograph the galloping horses on the grassland and the sunset, and it is even more difficult, but it is to photograph how the three brothers and sisters of the Mo family were pushed to that vast grassland by the tide of the times.

Kang Honglei vividly shows the fate of the characters from three angles.

First, the fourth of the Mo family.

What pushed him to the steppe was a lung disease that could not be cured.

The old man of the Mo family, played by Han Haolin, encountered an unfathomable fate as soon as he started.

In the hospital, Mo's mother learned from the doctor that the child's foundation was not good, and the follow-up nutrition could not keep up, "There may not be many days left." ”

Mo's mother didn't say a word, took the child's hand and walked out of the hospital, but the fourth elder of the Mo family, who was a little ghost, had already secretly listened to the doctor's words into his ears.

Logically, he was the one who had the least reason to go to the steppe, but who would have thought that it was precisely the steppe that cured his disease.

Second, the third sister of the Mo family.

What pushed her to the steppe was a misguided fate.

As soon as the story begins, this sensitive and self-respecting girl is detained as a spy.

It turned out that the third sister, who was tired of using the toilet used by more than ten people, went to the foreign consulate next door to rub the toilet in order to use the clean and comfortable toilet.

Can this toilet be rubbed casually? Sure enough, he was detained by the security officer.

Fortunately, the police in the precinct arrived in time, brought the certificate of the street, and then said his relationship with the superiors of the security officer, and finally fished the person out.

On the way, the film police asked her not to call her uncle, but to call him Brother Guobin, and when she arrived at home, she helped her cover up the details of rubbing the toilet, only saying that it was an internal emergency, and she happened to be arrested.

It seems, a good person of the first rank?

But it's not that simple.

This Guobin brother asked the girl to go to her if she had something, and the third sister really found a place where he worked, hoping to find a technical school.

Brother Guobin said a difficult story, and the third sister said, "It's difficult, that's why I am looking for you, Brother Guobin, as long as I can go to a technical school, I promise anything." ”

Brother Guobin was silent for a moment, and then asked her, "Really willing to do anything?" The third sister nodded affirmatively.

The man tore off all hypocrisy at this time, got up and pulled down the curtains in the room, turned to the third sister and said, "I want it now." ”

In this moment, the fate of the third sister has completely changed.

The price to pay for changing her fate awaits her right ahead.

Third, the second elder of the Mo family.

What pushed him to the prairie was the cello that could not be played.

This young man with a musical dream practiced violin when he was a child, but the burden of life gradually destroyed his dream, and in the alley, he felt suffocated and suffocated.

The place at home is too small, the place where he practices the piano is one step away from the toilet, squatting on the toilet here, pulling the piano there, how to practice this piano?

Not to mention, there are endless quarrels with my father and endless ideological learning.

He was desperate to get out of the house, and when the call to go to the countryside began, he was the first to walk up and write his name.

In this way, the three brothers and sisters of the Mo family have opened the wheel of fate one by one, and one day, they will be taken to the grassland by the train of fate one by one.

There, the kind and sincere young man on the grassland played by Ayunga will soothe Mo Sanmei's heart.

The enthusiastic herdsmen on the grassland will save the lives of the little brother of the Mo family.

And the most confused and confused second elder of the Mo family will gradually find himself in the Wulan Muqi, from a fake hero to a real hero.

Compared with many period dramas that impatiently throw out a series of period drama scenes in the opening scene, Kang Honglei is slow and methodical, telling the background and scenes of the three brothers and sisters' past lives one by one, and the future story has a foundation.

In a word, staying in the hometown, not everyone will be alive like Father Mo, and the rigid limbs and hearts can only fall heavily to the ground, or be broken or smashed.

And in the vast prairie, there are young people who urgently need to be rewritten.

2, actor: Han Haolin's aura, Xie Yuan's raw edge, and a military salute from Ding Yongdai support the story background

There is no traffic actor, maybe such a period drama is what the audience wants to see.

And the powerful people selected by Kang Honglei are all wonderful.

The first one, Xie Yuan.

Teacher Xie Yuan has passed away, but his performance in this drama makes people miss this old drama bone even more.

Xie Yuan's Mo family's father does not have many scenes, but the performance is unfathomable.

With only a few appearances, wearing old pajamas, and a whole state of divine nagging, he vividly played the past of a middle-aged man who experienced the ups and downs of his family.

He said hello to everyone loudly, and when he saw the people in the street office, he stood solemnly, seemingly smiling sincerely, but also seemed to have the feeling of walking on thin ice.

The complexity and helplessness of people, the traces washed by the torrent of the times, are in every detail of the characters.

Xie Yuan played it too well.

Especially in a separate scene with his son, the second elder of the Mo family secretly left home early in the morning and did not want to say goodbye to anyone, but the old father of the Mo family played by Xie Yuan waited at the door in the morning, saw his son go out, and handed him the newly bought cello with a smile on his face and asked him to bring it.

Mo Lao Er looked indifferent and turned away without saying a word.

Leaving the old father of the Mo family alone on the cold street, the camera did not even need to give Xie Yuan's expression, just through Xie Yuan's sluggish movements, it shot the sadness of an old father.

A few strokes, but the rough edges of fate are delineated. It's really amazing acting. It's just a pity that we will never see it again in the future.

The second place, Han Haolin.

This young old drama bone, Xu Zheng's royal actor, the little male protagonist in "Qing Yu Nian", his acting skills are too stable.

Play a lung disease-ridden and precocious teenager to life.

Every action, every expression, exudes a breath of aura, especially the scene on the second birthday of the Mo family, the family sits together, and he plays a toast scene wonderful and vivid. It's so funny to look like you are ghostly!

This character is like an active factor, if it were not for Han Haolin's performance, the story of the first episode would be too heavy and too depressed.

The third place, Li Hongliang.

The most famous role of Kang Honglei's royal actor should be the 5,000th soldier in the 57-year history of the Seventh Company in "Soldier Assault", and the last soldier, Ma Xiaoshuai.

In this drama, he played Mo Chengming, who is the protagonist of the whole drama, and is also a very unpleasant character in the opening.

Although there are no emotional outbursts in the opening scene, and the characters' personalities are too cold and distant, it is this state of confusion that contrasts with the changes after the characters enter the grassland.

Kang Honglei knows how to use actors.

The fourth place, Wang Tonghui.

The brother Guobin he played is the most surprising role in the opening.

It seems to be loyal, secure, kind and reliable, but in the blink of an eye, her true face was revealed in front of the beautiful third sister.

Wang Tonghui, who has played well in dramas such as "Police Honor", played this hypocritical villain too well, which is the face-changing acting skill.

The last one, Ding Yongdai.

In fact, this old actor of period dramas only appeared in the trailer of episodes 2 or 3, but as soon as this face appeared in period dramas, it was already full of drama.

Especially in front of his son's tombstone, a solemn military salute, full of affection, makes people proud.

Of course, next there is the gentle and kind Namuhai played by Ayunga.

Sichenkova plays the steppe mother of "golden threading".

A grassland herder played by Tumen.

The grassland cadres played by Hou Yansong and so on are all worth looking forward to.

Sure enough, the era group drama created by Kang Honglei, even if there are only one or two episodes and a supporting role with less than dozens of lines, you can figure out his life and character from it, and everyone tells their story in the play, which is the vast grassland of the acting school.

3. Breakthrough: How do period dramas really move the audience? Kang Honglei's drama may be able to make a sample

Period drama, of course, is on fire.

Especially CCTV's period dramas, as long as they are broadcast, almost all of them will have popular ratings.

But behind the ratings hit, period dramas have gradually formed a new routine, there are acting skills, there are feelings to break the circle, but the background of the story, but always almost something.

And Kang Honglei, who has filmed "Soldier Assault" and "My Regiment Commander My Regiment", is a work dedicated to his hometown, and the most important thing is the heritage.

To present this background, Kang Honglei used two tricks.

One is realism.

Before filming began, the director set the general tone of creation:

"The era span of this drama is very large, and what impressed me the most was our efforts on the matter of 'how to restore the era'. During the filming process, all the actors from underwear to outerwear, all changed to the (20th century) 60s clothing style, including props, scenes, etc. need to use pulp to make a strong sense of age, only the actors believe that this is real from the inside out, the audience will believe. ”

Sure enough, every actor in the play is "gray-headed", without the exquisite makeup in some period dramas, the state of the characters is exclusive to that era.

The pursuit of realism is simply detailed to the teeth in the play.

The golden songs of the times released by the farewell, the wall posters written by Mo Dad, the ubiquitous street offices, the living environment of ordinary Nanjing families, and even the toilet bowl.

The distance between human fireworks and grasslands also verifies a certain definition of "alive":

No matter where you are, the days always have to pass and the meal always has to be eaten.

At this moment, it pulled the audience into the environment of that era, and instantly entered the play.

The second is the sense of epic.

When the story begins to enter the Mongolian steppe, the audience immediately feels the vastness of the steppe.

Fluttering ponytails and sunsets, endless grasslands with enthusiastic Uhlan herdsmen.

Kang Honglei's epic shots instantly show the romance and heroism of the grassland.

Scenes such as fierce horse racing in the grassland, thrilling wolf hunting, and Ulan herding riding from house to house are integrated into the story, and a grand sense of epic comes to the face.

"Father's Prairie Mother's River" also writes the tide of the times and personal legends through such a story spanning several decades.

This drama is also like a sample: do period dramas have to be joined by first-line celebrities and top celebrities to shoot well?

Kang Honglei has already given the answer: as long as there is real life, grounded performance, laughter and tears, it is a story that can move people.

At present, many dramas claim to be emotional, romantic and tear-jerking, but in essence, they are actually rigid and set flow formulas.

Anyway, everyone shoots like this, and if there is traffic, it means that it is right.

But never underestimate the audience, who wants to be moved by an empty blockbuster formula?

And Kang Honglei, with deep affection for his hometown and a group of actors who are not so popular, shot such a thick drama.

The name of the series actually comes from the lyrics written by the Mongolian poet Xi Murong in the late 90s, "I am also a child of the plateau, and I have a song in my heart." There is my father's steppe, my mother's river. ”

Will the audience be attracted by this vast grassland and pristine river? Director Kang Honglei will give an answer right away.