The little sister-in-law is there, smiling, her eyes are in place, not bad, this netizen still understands Director Wong Kar-wai very well when she comments.
"Flowers" is like a gorgeous feast, with Hu Ge as the introduction, but it has aroused strong discussions among the audience in the selection of actors.
The superb performances of Teacher You Benchang and Xin Zhilei won applause, but some characters in this performance feast, such as the little sister-in-law, became the focus of sharp evaluations.
In the plot, the relationship between the characters is complicated, especially Tao Tao's appearance, which once became the pillar of Bao's career, but after success, he unexpectedly fell into the abyss of affection, and looked for Xiao San behind his wife's back.
At this time, the little sister-in-law appeared in his life and became an emotional role that he could not give up.
Little sister-in-law, this character was originally supposed to be a young and beautiful junior, with a delicate figure and charm. But in "Flowers", an elderly actor was selected, which made the audience feel confused.
Her body has precipitated the vicissitudes of time, and the wrinkles are deep on her face, why did the little sister-in-law become a divorced middle-aged woman?
In terms of domestic entertainment aesthetics, perhaps this is Wong Kar-wai's first attempt at TV drama directing, and the movie atmosphere and relatively bland plot development seem to tear apart the audience's expectations for domestic entertainment works to some extent.
This may be an aesthetic experiment, and it will take time for the audience to adapt and accept this unusual plot direction.
Although the actor of the little sister-in-law has good acting skills, her appearance is far from the image of the little three. The audience clearly saw through the lens that the little sister-in-law's skin was covered with traces of time, and the bags under her eyes were deep-set, as if she was laughing at Tao Tao's pursuit of beauty.
Her makeup is also too bright, making people feel as if they are watching a deliberately arranged stage play, rather than real life.
As a viewer, I can't ignore the importance of the actors' acting skills and casting. In the classic mistress roles, they are not only outstanding in appearance, but also charismatic in their performances. Perhaps when casting, you can draw inspiration from these successful experiences.
This can't help but remind people of classic cases, such as Zhang Yue's character in "Thirty Only", although her appearance is not outstanding, she conquered the audience with a light tea taste and purity.
In "Snail House", Li Nian and Guo Haizao successfully sketched the images of mistresses of different styles through their natural immature faces and gentle temperament. With their superb performances, these actors present the audience with the diversity of the emotional world.
The audience complained in the barrage: "Tao Tao is really not a picky eater!", "Grandma's generation can also do it". This series of questions shows that the audience is dissatisfied with the role of the little sister-in-law, and even produces a feeling of disobedience when they see her.
Little sister-in-law, this character who was supposed to be heartwarming, has become an existence that people dare not look at directly.
In the play, the role of the little sister-in-law gradually increased, and the relationship between her and Tao Tao became more and more delicate. Due to casting issues, the audience has always maintained a skeptical attitude towards this relationship.
The appearance of the little sister-in-law in the play is always uncomfortable, and her vicissitudes of life seem to tell about an overly sophisticated and experienced life.
The audience's expectation for Xiao San is a young, beautiful, and peerless image, and the little sister-in-law is obviously contrary to this expectation.
Of course, the aesthetics of domestic entertainment have changed, director Wong Kar-wai is good at movies, and his grasp of TV series may be slightly inferior. Besides, the case of casting failure is not finished at all:
In the TV series "Wind and Rain Sending Spring Back", Wang Like once made a name for himself in rural dramas, but the image of a mistress is very different.
In this scene, the actor's interpretation of lust and lust is extremely exquisite, but when the camera turns to Wang Like, her dance moves jump out of the funeral feeling.
Successfully playing the role of mistress in the domestic entertainment industry requires actors not only to have excellent acting skills, but also to have a deep understanding of the role and the courage to break through traditional aesthetics.
More advanced mistresses, such as Gao Xiaoqin in "In the Name of the People", are not only discerning and knowledgeable, but also well versed in male psychology, revealing their vanity and bad tastes with ease.
In her performance, she naturally and authentically integrates a deep understanding of human nature, showing a unique charm of charm and high intelligence.
On the whole, these actors who have successfully portrayed mistresses have not only performed well in character building, but also have shown their skills in challenging traditional aesthetic concepts.
In addition to the little sister-in-law, the casting of the actor Mr. Wei also attracted the attention of the audience. Although Zheng Kai is a popular actor, his performance in the image of this big boss makes people feel a little awkward.
Zheng Kai has always shown people with an entertaining and funny image, but in "Flowers", he plays Mr. Wei who seems to be too young and flamboyant, far from the image of a big boss who has worked hard in the business world for many years.
As a successful businessman who has gained a firm foothold in Shanghai, Mr. Wei's mature and steady temperament is a matter of course. Zheng Kai presents an image of nonsense and excessive sense of humor. His outfit has aroused some speculation from the audience, and he is dressed up with personality.
As if to emphasize his distinctive personality. This gives the audience the illusion of a "stupid son of a landlord", rather than the image of a big boss who is comfortable in the shopping mall.
Although his performance is not lacking in excitement, his choice is a little too abrupt when creating the character. It is difficult for the audience to ignore this incongruous feeling, which makes Mr. Wei's image seem a little out of place in the whole story.
Although there were some minor flaws and casting mistakes in "Flowers", this could not hide the excitement and depth of the whole show. Xin Zhilei's performance is also an amazing highlight.
Li Li, the owner of Zhizhenyuan, played by her, is not only young and beautiful, but also shows a strong personality and ambition.
Her temperament perfectly matches the setting of the character of the boss lady, and her appearance and strength are doubled. Xin Zhilei's every look and movement vividly interprets this role, making Li Li, the owner of Zhizhenyuan, one of the most impressive characters.
On the whole, although there are some minor problems in the casting of the storyline of "Flowers", this does not prevent the overall plot from advancing. Each character plays a unique role in the play, making the story more colorful.
Even if there are some minor flaws, the audience can still immerse themselves in the plot, and on the whole, his control of the storyline and the restoration of the background of the Shanghai Tang era are quite successful.
As a classic, the light of "Flowers" is still brilliant and dazzling, and I look forward to it being able to bring more surprises to the audience in the next plot.