Haiqing once joked at the film festival to "pray" for the director to give middle-aged actresses a chance, and also laughed at himself that it was cheaper and easier to use than Hu Ge, hoping that the director could use them more.
As soon as this remark came out, the audience was distressed.
Obviously at the same age, the actor is still playing the domineering president, while the actress is forced to play the role of a mother, which is really unfair.
Some have obviously played couples before, but they have become "mother and son" when they cooperate again.
«——[·Zhu Yilong and Wang Yipu ·] ——»
Zhu Yilong debuted in 2009, and Wang Yipu also debuted at the same time, but it was not until 2018 that Zhu Yilong suddenly became popular for starring in "Do You Know", and then he showed super acting skills in works such as "Embracing You Through Winter" and "Life Events".
However, few people know that Zhu Yilong and Wang Yipu worked together as early as 2014.
At that time, the two were still unknown and collaborated on a family drama "Family Banquet".
Zhu Yilong played the "bear child" Feng Douzi in the play, and Wang Yipu played his girlfriend Mao Mao, and the two experienced many twists and turns in the play and finally came together.
Just when everyone still had the impression that they were cute young love, the relationship between the two actually "reversed growth" - from a couple to a mother and son!
In the same year, the two collaborated on "Three Lives of Love", and Wang Yipu became Zhu Yilong's mother-in-law.
In 2016, the two co-starred in "New Xiao Eleven" and "New Border City Prodigal Son", Zhu Yilong became Wang Yipu's half son and adopted son, when Wang Yipu was only in his 30s, and fell into the "mother's circle", which is really regrettable.
«——[Nursery and Luo Jin·] ——»
In 2003, "Mu Guiying Hangs the Commander" was a hit, and Sowers and Luo Jin's CP "Mu Luo CP" was popular all over the country.
The two created a classic talent and beauty in the play, and there were scandals, which triggered the audience's infinite reverie. At that time, the popularity was no less than today's "Di Xin Gravity" and "Wu Lu can escape".
Nine years later, in 2012, Sowers and Luo Jin collaborated again in the costume drama "Crane Pavilion". To the audience's surprise, Luo Jin continued to play the male lead, while Sowers became his mother character.
In just nine years, the two have changed from a couple to a mother and son, and the plot is too subversive to inevitably make people embarrassed.
What is even more shocking is that the age difference between Luo Jin and the nursery is only 4 years old, and the mother and son are really reluctant.
In fact, after "Mu Guiying Hangs the Commander", the nursery disappeared for a while, and by the time she appeared again, the resources had seriously declined.
Subsequently, in "Heirloom", she was arranged to play the role of Qin Lan's mother, and the age difference between the two was only 2 years, which made many viewers cry out for the nursery and felt that it was too much.
In "Li Ge Xing", her role status has been reduced to the elders of Xu Kai and Li Yitong, and the actresses of the middle generation can do nothing more than two things: either maintain their appearance forever like Qin Lan, or they can only accept the arrangement of playing elders like nurseries.
For Sowers, her girlish flowering period is too short, and she has already passed the best selection period at the peak of her acting skills.
In stark contrast to the nursery is Luo Jin.
Three years after the broadcast of "Crane Pavilion", 45-year-old Luo Jin brought a new drama "The World is Long", still the male protagonist, playing the emperor, since his debut, Luo Jin's drama has been extensive and has always been the male one.
Mesozoic actors have significantly more opportunities than actresses.
The nursery missed the best opportunity for transformation and was forced to accept the role of elder too early; And Luo Jin continues to continue the status of the male protagonist, and the drama path is still broad.
Also a Mesozoic actor, the treatment received by male and female stars in this industry is worlds apart.
«——[Zhang Yongqi and Zhang Di·] ——»
The marriage of Wang Baochuan and Xue Pinggui has become a negative model in "Wang Baochuan", which makes the audience resist love and marriage. And Wang Jinchuan and Su Long in the same drama are very loving.
The contrast between the different endings of the two marriages further highlights the rare love between Wang Jinchuan and Su Long.
Wang Jinchuan and Su Long are both simple and kind personalities. Although Su Long came from a humble background, he was bent on seeking fame in order to help marry his beloved beauty. No matter what situation Wang Jinchuan is in, he takes care of the overall situation and cares for Su Long.
The relationship between the two is strong, even in the ancient times when the three congratulations and four virtues are discussed, Wang Jinchuan will say sweet words between husband and wife in a coquettish manner.
In contrast, the marriage of Xue Pinggui and Wang Baochuan is confusing. Wang Baochuan simply pursues love itself and is blindly impulsive in feelings. Xue Pinggui did not establish a career, and exposed his temperament in front of his father-in-law many times. The final ending of the two is tragic, making people afraid of the beautiful love returning to the mountains and forests, and the marriage relationship.
Playing the two couples in "Wang Baochuan" are Zhang Yongqi, Zhang Di and another male lead.
Years later, the two "reunited" in "Million Brides", but have changed identities.
Zhang Yongqi changed the image of Wang Jinchuan in "Wang Baochuan" and successfully interpreted the role of Lin Minjun, the old lady of the Lin family. Lin Minjun not only dresses old-fashionedly, but also often weeps bitterly, portraying the image of a loving mother very well.
And Zhang Di became her son Lin Jiayou, and the two showed simple filial piety in the play.
The audience may feel that this pair of "mother and son" is a bit too span at first. But Zhang Yongqi and Zhang Di through different hairstyles, clothing, makeup to enhance the difference in age, coupled with their excellent acting skills, successfully made the audience temporarily forget their original identities and focus on the new plot.
«——[Lin Yongjian and He Saifei·——»
Lin Yongjian and He Saifei, the "dream couple" who once cooperated affectionately in "The Happy Past of the Old Ma Family", met again in the new drama "New Son-in-law Era", but they have already signed a "relative" relationship, and He Saifei has become Lin Yongjian's "mother-in-law", which sighs the impermanence of life.
In the hit drama of the old Ma family, Ma Yimao, played by Lin Yongjian, looks mediocre, but he was fortunate enough to marry the beautiful and delicate Hu Gendi played by He Saifei.
The two cooperate tacitly in the play and interpret an interesting couple that dazzles the audience. At that time, who would have thought that the former "golden boy and jade girl" would gather again and appear in front of the audience as an elder.
The "dream lover" of that year is not what it used to be, and fate tricks them into meeting them in new episodes with a new identity. Lin Yongjian plays "Little Brother Ma", still immersed in the passionate and vigorous teenage years; And He Saifei has appeared as a loving mother and has become Lin Yongjian's mother.
However, these two excellent actors still surprised the audience. They grasp the nuances of the characters' personalities and perfectly interpret the varied life experiences.
Lin Yongjian successfully created a cheerful and sunny image of youth, while He Saifei perfectly interpreted the inner world of a loving mother through rich expressions.
«——[Ageism is everywhere.] ——»
Many actresses are forced to face the end of their acting lives at their most beautiful, and male actors of the same age can stand on the cusp for a long time.
This difference is a blow to many actresses.
Xu Xiyuan once complained that now all the people looking for her are the role of mother, so she has no drama to play; Song Dandan once confided on the show that she fell into a mid-life crisis after the age of 35, and almost no one asked her to film.
The middle-aged actress has become an embarrassing existence, not up or down in age, neither able to play a girl, but also unwilling to be a mother.
In fact, the 30s are the peak of actresses, and after a long period of training, they have formed their own acting style. But the market no longer needs them, because more and more young and beautiful newcomers are pouring in.
Most of the popular plots today are the stories of the domineering president and the little wife, and occasionally there are sibling love plots. Therefore, the director prefers actresses in their 20s, who are not only the right age, but also have an outstanding image.
Even if it is a sibling love, it is necessary to strictly consider the appearance and state of the actress, otherwise it is easy to be complained about, like the new drama cooperated by Jiang Wenli and Ming Dao, which is ridiculed by the group and is not suitable for acting in idol dramas.
Some people ask, the actress did not act in her 30s, what was she doing when she was in her 20s? Why not take advantage of the youth capital to perform more works? There are two reasons: first, the lack of experience in the young age, it is difficult to receive the ideal script, and a good script will give priority to the old drama bones; The second is that some actresses chose to have children, and wanted to come back after giving birth but found that they could only play the role of mother.
Therefore, many actresses strive to maintain their girlish image, hoping to gain a foothold in the entertainment industry.
However, the most puzzling thing is, why don't actors have a midlife crisis? Why is the audience's tolerance for male actors so high?
This stems from physiological differences. Middle-aged male actors have years of precipitation, temperament and acting skills have been improved, and many male stars have successfully come out of the circle in middle age, unlike actresses who need to face the anxiety of losing their faces.
«——[Why is there such a phenomenon?] ——»
The discrimination against actresses over the age of 30 in the film and television industry comes from many aspects.
Many choreographers are biased against the role setting of actresses over 30 years old when creating, and can only play mother-like roles, with limited roles and very thin portrayals. This puts a lot of limitations on the actress's play.
The media also pays very little attention to these actresses, only caring about their marriage and childbirth, and rarely paying attention to their acting careers. At the same time, the media often uses the method of comparing the past and the present to deliberately emphasize the aging and ugliness of these actresses and denigrate them.
Many audiences' aesthetics are still on the surface, only paying attention to appearance. Once actresses get old, ridicule them, thinking they are outdated.
And even the artists themselves and the team lack confidence in the charm of middle-aged women, and always think of relying on retouching and retouching to whitewash the taiping.
This environment has had a huge adverse effect on the development of actresses over the age of 30. Many once excellent actors gradually fade out of sight as soon as they pass the age of 40, resulting in a huge waste of talent.
But have we ever thought that 30 years old is when actresses have mature acting skills and rich experience, and they have the strength to continue to shine. For example, French actor Huppert, 64 years old, is still active on the screen and is widely acclaimed.
The root of the problem lies in the stereotypes of middle-aged women in society as a whole. We should recognize that women over the age of 30 can also be attractive, and their life experiences deserve attention and understanding.
If we deny them just because the years leave marks on their faces, then our aesthetic is superficial.
«——[·The author thinks]——»
The age of 30 is not the end of life, but a new beginning.
We want to give these actresses the stage and opportunity to continue to shine. When the vision of society becomes inclusive and positive, middle-aged actresses will definitely exude unique charm.
We should tolerate and understand the plight faced by actresses and give them kind and unstereotyped evaluations. At the same time, the industry should also be called upon to give actresses more opportunities, reduce unreasonable requirements for them, so that they can shine on stage.