When it comes to Cao Cao's actor, everyone will always think of Bao Guoan, Yu Hewei, Jiang Wen, and Chen Jianbin is always ignored.
It is reasonable to say that Chen Jianbin is an actor with acting skills, feelings and works.
And his resume is also particularly dazzling.
In 1998, after graduating from the master's degree in Chinese opera, he stayed in school to teach, the earliest acting drama won the Golden Lion Award, later acted in a TV series and won the Golden Eagle Award and the Feitian Award, and then acted in the film and became a director, and won three awards at the Golden Horse Awards for Best Leading Role, Best Supporting Role and Best Newcomer Director.
In 2010, Chen Jianbin starred in "Three Kingdoms" as Cao Cao, when Chen Jianbin was well known to the public with "Qiao Family Compound", he was in the rising stage of his career, he wanted to completely enter the front line with the role of "Cao Cao", but he did not expect to have a mixed reputation in the end, and later he relied on starring in "The Biography of Zhen Huan" to ease up.
Why did playing Cao Cao become Chen Jianbin's Battle of Waterloo, and where is his gap compared with Bao Guoan? Today, Pigo will talk to you about this topic.
First, Chen Jianbin's performance
Let's start with Chen Jianbin.
He has been making mistakes since he starred in the show.
At first, the director came to him, not to let him play Cao Cao, but "another very important role", Chen Jianbin said that he did not like this character, "not as interesting as Cao Cao, attracted me", and refused to act.
Later, "Three Kingdoms" changed the director, and Chen Jianbin successfully got the role of Cao Cao.
Chen Jianbin did not disclose which role he was asked to play in the first place, but judging from his appearance, it is likely that it is Dong Zhuo or Yuan Shao, or It may be Sima Yi, but it is unlikely to be Liu Bei or Zhuge Liang.
For an actor who is in the ascendancy of his career, playing such a negative character or a relatively flat role, Chen Jianbin's refusal to play is understandable.
But a person who was originally going to play Dong Zhuo and Yuan Shao went to play Cao Cao, and this sense of dislocation made him lose his lead at the beginning.
Then there's the pot of scripts.
There are zhu yu in the 1994 version of "Romance of the Three Kingdoms" in the front, and the 2010 version of "Three Kingdoms" avoids its sharp edge when writing the script, and strives to write a popular drama that is easier for modern people to understand.
For example, the lines are very "modern".
Dong Zhuo said: "Moving the capital to Chang'an is a hundred-year plan. ”
Xu You said, "Are you here to fight or to flirt?" ”
Pan Feng said, "My big axe is already hungry and thirsty. ”
These lines sound very thunderous, without a hint of antiquity, which makes the whole play lose depth.
In terms of character shaping, this drama is also a sword to the side.
For example, Sima Yi, played by Ni Dahong, was portrayed as a natural conspirator, Ni Dahong was originally an old drama bone, but in this drama, the gods were nagging, giving people a very poor impression, and there was a big gap between Wei Zongwan, who played Sima Yi in the old version of the Three Kingdoms.
Another person who was pitted was Chen Jianbin.
In the 1994 version of "Romance of the Three Kingdoms", Bao Guoan has already interpreted Cao Cao's adulterous male to the fullest, and the screenwriter has forcibly put out a "humanized" Cao Cao, and put Liu Bang's set of dirty style on Cao Cao, so we see a modern version of alternative Cao Cao.
Yi Zhongtian's "Three Kingdoms of Pin" calls Cao Cao a "lovely adulterous male", and in this drama, in order to interpret cuteness, Cao Cao is obscene and fake.
Liu Bei ran away, he shouted loudly; when he saw Zhao Yun, he directly called out, "I love him to death", saw Guan Yu, and directly sold corruption, "Yun Chang can't go."
Cao Cao's true disposition has become "open defecation", which is a generation of tyrants, which is simply a "hooligan" whose emotions can erupt at any time.
So when such a script is written, the immortals will also act out when they come, and Chen Jianbin is really a bit unlucky.
Finally, Chen Jianbin himself has a big problem.
No matter how bad the script is, as a good actor, he also has the ability to act above the standard, but Chen Jianbin uses too much force.
On the one hand, the body language is too rich, from time to time to blow the beard and stare, jumping up and down, and there is no performance of Cao Cao's city government.
On the other hand, it is the problem of lines, Teacher Bao Guoan's lines are very thick, very magnetic, and highly recognizable, but Chen Jianbin said his lines, there was no ups and downs in his tone, and he did not do it, giving people a very flat feeling.
There was also a big problem with his broken sentences, one by one, the most obvious is the recitation of "Short Song Line", which was originally a four-word short sentence poem, he was stunned by two words and two words jumped to read: "To wine, when singing, life, geometry, for example, morning dew, going to the sun, suffering a lot ..."
A domineering poem made him stumble in reading, and the audience was really uncomfortable to hear.
And although Chen Jianbin said that he pushed off a lot of drama contracts and made sufficient preparations for this play, when watching the play, he could always feel that Chen Jianbin was too pursuing "novelty" when playing Cao Cao, and it was a modern taste between his hands and feet, and there was no sense of the old version of Cao Cao's simplicity.
In short, the unsuitable roles, the imprecise script and the flawed performance have made Chen Jianbin's version of Cao Cao criticized, and compared with Bao Guoan's version of Cao Cao, this gap is more obvious.
2. Bao Guoan's performance
Let's take a look at how Bao Guoan played Cao Cao.
In 1990, when CCTV began to prepare for the filming of "Romance of the Three Kingdoms", Bao Guoan was Cao Cao's first choice, at that time, he was very close to Cao Cao in terms of age and temperament, and Bao Guoan was already the biggest wrist in the crew.
However, compared with Chen Jianbin's initiative to ask for help, Bao Guoan was walking on thin ice, unable to sleep for several nights, afraid that he would smash Cao Cao.
In order to play Cao Cao well, Bao Guoan even went to the streets to do a questionnaire survey, when Cao Cao's image was vague in the minds of the public, there was the treacherous Cao Cao with a white face on the opera stage, there was Cao Cao in Guo Moruo's drama, and There was Cao Cao in the newly compiled historical drama, each version of Cao Cao was different.
In the end, he chose to create based on the white-faced Cao Cao in Peking Opera, but he also reminded himself that "learning from its origins without learning its flow", the Peking Opera stage is an exaggerated performance, and when performing TV dramas, it is necessary to perform realistic performances, and Cao Cao must not be acted as a flower rack.
He also wrote a lot of creative notes and essays to figure out Cao Cao's performance methods, and he felt that he wanted to perform Cao Cao's "three more" of wit, changeable personality and suspicious nature.
After in-depth study, he felt that the literary critic Mao Zonggang called Cao Cao "the first strange man to rape males since ancient times", so the performance could not simply perform his "rape", but also perform his "qi".
In the play, Cao Cao's age spans from 39 to 66 years old, and Bao Guoan asks himself to perform Cao Cao's different personality characteristics according to different ages.
In the first few episodes, he played Cao Cao as a sharp and frank conceit.
After the scene of "catching and releasing Cao Cao", Cao Cao went through life and death and shouted out the life creed of "rather teach me to bear the world's people, and teach the people of the world to bear me", and since then a tyrant has grown up.
When he was named the general of Zhendong by the imperial court and led the Qingzhou soldiers to fight against the Yellow Turban Army, at this time he showed a thirst for talents.
After Cao Cao's father was killed, Cao Cao on the one hand to avenge his father, on the other hand, but also to use his father's death to fight for Xuzhou, there are parts of the true feelings, there are also false feelings, one of the lines fully illustrates his complexity: "Even if you do not avenge the ancestors, Xuzhou is inevitable." ”
Later, at the suggestion of Xun Yu, Cao Cao seized the opportunity to blackmail tianzi to order the princes, and Bao Guoan skillfully blended Cao Cao's superficial capriciousness and inner calmness and self-confidence in the scene of "Three Lets Xuzhou", and the audience could see the growth of the character, which Bao Guoan called "three-dimensional warfare".
When Cao Cao controlled the government and the opposition, on the one hand, he was a corporal of courtesy and adopted a gentle policy towards Liu Bei, showing everyone's demeanor;
On the one hand, the "Cao A-concealer" in his bones is imprinted in his heart like a birthmark, and this kind of childlike cunning is reflected in the hunting of Xutian, the battle of Guandu, the battle of Chibi, and the defeat of Huarong Road, which is also what he wants to play.
After Bao Guoan formulated the general performance framework, he also paid attention to a fine craft in the specific performance.
For example, Cao Cao's smile has several kinds.
Informality and self-satisfaction in youth; ambition and optimism in middle age; unfathomability and deceit in old age all reflect different connotations through a smile.
For example, the relationship between Cao Cao and Guan Yu is handled.
From the appreciation of "Wenjiu Chopping Huaxiong", to the admiration when giving the red rabbit horse, to the excessive tolerance when "riding alone in a thousand miles", Cao Cao's heart is also constantly fluctuating, and finally it seems that Guan Yu is too conniving, but the process is performed, and the unreasonableness presented to the audience also becomes logical, and there is a strong possessiveness behind it.
For example, the main play of the hero of cooking wine, Bao Guoan just believes that it cannot be played too heavy, because this is a psychological game, Cao Cao is using a careless conversation and casual posture to pressure Liu Bei, this kind of clever play can not be clumsy.
For example, to eliminate Dong Cheng's drama, Bao Guoan asked himself to vent the hatred in his heart in a slight way, both to the fullest and appropriately.
For example, in the scene where Xu You came to cast, Cao Cao went out to greet him before he could put on his shoes, and he wanted to perform a witty and interesting side.
It can be seen that when Bao Guoan played Cao Cao, he did not use three or two methods to act, but repeatedly speculated about Cao Cao, and studied the ditches and bumps that Cao Cao experienced in his life, and it was clear which place to perform.
He interpreted Cao Cao with a spirit of teaching and doing scientific research, can this role not be successful?
In the end, Cao Cao became one of the most classic characters in the 1994 version of the Romance of the Three Kingdoms, and even without one, Bao Guoan also overpowered Tang Guoqiang and won the two major emperors of the Feitian Award and the Golden Eagle Award.
In the play, Cao Cao's horizontal poems and cutting his beard and abandoning his robe have also become the famous scenes of the play, and his iconic smile has become the memory of a generation.
Chen Jianbin and Bao Guoan compared, the gap is too obvious, he is blindly confident in himself, the performance method is single, the line processing is too self-contained, all kinds of drawbacks are concentrated on this role, so that playing Cao Cao has become a Waterloo in the history of Chen Jianbin's performance.
In fact, Chen Jianbin may wish to learn from Hewei.
Yu Hewei also played Cao Cao in "The League of Military Teachers", but he took a different path, in the play he is only a supporting role, do not need to shape the role so comprehensively, Yu Hewei specializes in a little, focusing on the performance of Cao Cao's "power plot" side, acting domineering, unique.
Someone said this about the performance of the trio.
Bao Guoan is Cao Cao; Yu Hewei is trying to play Cao Cao, while Chen Jianbin is just playing himself in Cao Cao's costume.
Fortunately, Chen Jianbin learned to converge after this, and his acting skills have also improved steadily, and now he is acting and you have become a successful director of literary and art films.
The role he plays is no longer a simple domineering, more delicate small roles, and the grasp of the character is also on a higher level.
Bao Guoan was close to 50 years old when he played Cao Cao, while Chen Jianbin was only 40 years old when he played Cao Cao, which was obviously not hot enough.
If you let Chen Jianbin play Cao Cao again, I believe he will be able to act better, from a positive point of view, the failed attempt 11 years ago also helped Chen Jianbin to continue to improve in his acting career.
Text/Pippi Film Editorial Department: A Chicken
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