After watching many costume dramas, I can't help but sigh that the current audience is really "hurt". The same role, if it was interpreted by an actor with stunning appearance and outstanding temperament in the past, it will definitely bring a different visual impact and become a highlight of the work's lasting circulation.
But now this enjoyment of beauty is hard to find.
The most obvious example of this is the new version of the traditional characters. Whether you are appreciating it for the first time, or a loyal viewer who has watched that "old" drama, it is inevitable that you will frown when facing the new version.
This is not because we have a "filter of the times", but the new version really does not meet our expectations. The slightly mediocre face in front of us does not match the image of the beautiful and flawless in the impression, which is our real feeling.
In fact, the reason is very simple, acting skills can be made up for by acquired training, but if the actor himself does not have enough appearance and temperament as the cornerstone, it will be difficult to break through his own limits no matter how you perform.
So once the character was originally positioned as a beauty, the importance of casting was highlighted. When there is no comparison, we can still enjoy the plot, but after the comparison, it will inevitably be greatly discounted.
This is where the audience's "harm" lies, and I hope the industry can take this as a warning and not always let us, the audience, suffer a cliff-like decline in appearance and temperament.
Let's take a look at the first example, "Lin Daiyu" who has tormented the audience for a long time.
Chen Xiaoxu's version of Lin Daiyu is in front of the camera, and the distinct outline of her facial features exudes a sickly beauty. The brows are often slightly frowned, and the eyes are melancholy, either happy or sad. Even if he doesn't speak, he naturally reveals that kind of sad sorrow that makes people pity.
This is exactly the same as Lin Daiyu's character in the original book.
On the other hand, the new version of Zhang Miaoyi may be sweet-looking, but it is not outstanding. The facial lines are thin, and it is difficult to show the characteristic of melancholy. Even when she was sad, she only pursed her mouth down, and she couldn't see the painful struggle in her heart.
It's more like a little sister next door pretending to be pitiful, you will feel distressed, but it is difficult to see Lin Daiyu's unique melancholy temperament.
So from this example, it can be seen that if the external conditions of an actor cannot fit the role, then no matter how she performs, it will be difficult to meet our expectations.
This is the reason why many viewers repeatedly mention the "filter of the times", because the image of that character in our hearts is irreplaceable. If I had to use one word to describe it, I think it would be called the three-dimensional gap.
Let's take a look at the second example, which is also the "Three Virgins" of the old drama bones.
In the 90s, Park Shiyan's version of the Three Virgins was eye-catching as soon as she appeared. Jade bones and ice muscles, with a noble temperament, revealing infinite sorrow and pain. Even if you don't have to deliberately perform, you still exude a maternal holiness aura under the camera.
It's hard for the audience not to be moved and provoked by infinite reverie.
On the other hand, the new version of Liao Weiwei not only does not meet the high standards of character positioning in appearance and figure, but also cannot release enough maternal tenderness in her demeanor. The expression of the smile is more like the aunt next door than the fairy goddess.
Standing in front of the big screen, it is easy to break the suspense of the audience.
So this once again explains why many viewers will raise the sentiment of "aesthetic fatigue". The image we are looking forward to in our hearts cannot find a counterpart in the new version.
This is a decline in the sense of definition, and it also makes people have to admit that the times are going backwards, and excellent faces are hard to find.
Let's take a look at the third example, "Xiaoyu", a beautiful vixen.
Shu Chang's performance that year can be described as vivid. The blinking watery eyes, with the crooked smile, are lively and full of crystal clear intelligence. Every gesture exudes youthful vitality, which makes it easy for the audience to have a good impression.
In comparison, the new version of Guan Sihui is much worse. Her various expressions and movements are very contrived and deliberate, but they fail to bring out Xiaoyu's cuteness and playfulness. Occasionally playing a fox is also not smart, and it doesn't match a goblin at all.
What's more, she can't hide too much modernity, which will directly shatter the audience's plot experience.
So this once again confirms that if the actor's own conditions are limited, it will be difficult for the audience to have a sense of substitution and resonance in the performance. The lack of a high degree of coherence between the outside and the inside can only weaken the appeal of the work in the end.
This is also why more and more audiences will raise the question of "decline", and the expressiveness of new works is obviously not as good as before.
Let's take a look at the fourth example, the breathtaking "Zhou Zhiruo".
Whether it is Zhou Haimei in the 90s or Gao Yuanyuan in the 00s, the Zhou Zhiruo they show is charming and moving, ice and snow smart. Even if you don't have to deliberately dress up, you can still exude the smart posture of a fairy woman and the temperament of not eating fireworks in the world under the camera.
This has been deeply imprinted in the hearts of countless audiences.
dwarfed by Qiu Yinong in Wang Jing's new version. No matter how tolerant and tolerant we are, her appearance, body shape, and temperament do not match the description of "extremely intelligent".
For any audience, the first time you see her, you will have a sense of fall, and it is difficult to accept this Zhou Zhiruo.
So this is a thorough testament to the importance of casting. An actor must have certain conditions congenitally in order to interpret the charm of the role. Otherwise, no matter how you perform, at most it will be a small fight, and it will be difficult to get the audience's recognition and resonance.
This is the comparison between the old and the new, there is always a helpless sigh of "how can this be".
After reading the previous examples, you must be very impressed. Finally, let's take a look at the familiar "Du Bingyan".
In the old version, Xiao Li Lin perfectly played the role of Du Bingyan. Her unique facial features, with slightly drooping eyes and creamy skin, exude a sense of beauty in front of the camera.
There is a dignified and generous gesture, and she is a well-educated lady.
In comparison, the new version of Bai Bing can't bring such aesthetic enjoyment. First of all, there are no obvious highlights in the facial features, and it is difficult to reflect Du Bingyan's intelligence and ability in appearance.
Secondly, the facial contours are not three-dimensional enough, and it is difficult to highlight the temperament. In the end, the expressions and movements between the gestures have no obvious characteristics, and it is difficult to touch the hearts of the audience.
So this last example once again confirms the unique charm of beautiful actors. They don't need to perform deliberately, they can automatically bring in the inner character of the character through external conditions.
And if the basic conditions of the actor are limited, then no matter how you behave, it will be difficult to touch the hearts of the audience. This is the most fundamental reason for the visual difference between the old and the new.
Through the above examples, we can clearly see that when the actor himself has the external conditions for role positioning, he can often inadvertently bring in a lot of temperament and verve, which is an important reason for many successful versions.
On the other hand, if the actor's appearance, body type, temperament and other hard conditions fail to match the role, then no matter how deliberately you perform, you can only achieve a drop in the bucket in the end, and it is difficult to change the audience's first impression.
This is also the root cause of many new version failures.
It can be seen that the casting of beautiful actors is very important. They themselves bring visual impact, which also reduces the burden of the performance and makes it easier for the audience to have a sense of substitution.
And actors with mediocre faces, if they want to make up for their congenital deficiencies through acquired exercise, it is tantamount to climbing to the sky and picking the moon, and the possibility of success is minimal.
Therefore, we should not underestimate the role of beautiful actors. They are an important cornerstone of the success of movies and TV series, and they are also the key to the audience's aesthetic fatigue and declining expectations.
If the industry fails to learn from this, the consequences will be unimaginable.
Seeing this, I believe you have already experienced it. The reason for these contrasts between the old and the new is also very related to the changes in the current environment.
In the past, producers valued the quality and reputation of their works. So when casting, we will do our best to find the most suitable actors. These actors not only have outstanding acting skills, but also often have excellent appearance conditions, which meet the aesthetic needs of the audience.
However, that changed when interest and commercialization were added to the casting criteria. Strength and word-of-mouth alone may not bring ratings, and they need to be matched with traffic and external packaging.
As a result, actors with outstanding appearance are not so important, and the audience's aesthetic experience is inevitably affected.
However, we still have to be confident. I believe that with the change of the environment, excellent actors and works will definitely appear repeatedly. At that time, we will finally usher in another golden age of movies and TV series.