The New Year's drama "Flowers", which is being broadcast on the CCTV TV drama channel (CCTV-8) of the main station, has seen a rising rating, which has aroused heated discussions among the audience.
"Tone" is not only a frequent line in the play, but also the label of this TV series "Flowers".
Wong Kar-wai's accent, Shanghai accent, Ah Bao's accent, and Lingzi's female accent have jointly achieved this TV series with a "tone".
The "tone" is indescribable, it is neither humble nor arrogant, it is silent dignity, perhaps it is not far away and not close to friendship, it is a reasonable and affectionate attitude, and it is also a kind of outstanding, arrogant but not coquettish temperament.
Many viewers commented that after watching the drama, they seemed to be immersed in a strange and intimate atmosphere and mood, immersed in the Shanghai accent and the atmosphere of the times created by Wong Kar-wai in the early 90s of the last century......
A Bao tone
Do it with sincerity and take it in the right way
The protagonist of the play, A Bao (played by Hu Ge), is the most "toneful" "Mr. Bao" on the Yellow River Road in Shanghai.
Intelligent, resolute, sharp, rigid with softness, static and moving, amorous and meaningful, words and letters, it is precisely because of this rare tone that it has become the object of trust and closeness of relatives and friends, men, women and children, and even for it.
The existence of Ah Bao has determined the sunny tone of the whole play, and also established the legend and romance of this play.
Po drives the fate and emotions of the people around him.
He and Lingzi (played by Ma Yili) share ups and downs, he and Miss Wang (played by Tang Yan) have a flash of spring, and he and Li Li (played by Xin Zhilei) cherish each other......
Each group of relationships is "happy but not lewd, sad but not sad", both heart-to-heart lingering, and sighs from one side of the sky.
Even his master-apprentice relationship with the old master uncle (played by You Benchang), and the brotherhood with Tao Tao and many other friends, are all heartfelt and sincere.
In a sense, Po has both legendary experience and legendary personality, although he is not a superhero born out of thin air, nor is he a moral model who has no desires, but he is a big protagonist with a tone halo.
This kind of aura, and the interaction with all kinds of Mr. Zhang, Mr. Wang, Xiao K, Qi San, small staff, waiters, small vendors, and street gangsters on Shanghai Beach, seems to have brought a certain brilliance of humanity.
Shanghai accent
The face should be affectionate and toneful
"Flowers" not only tells a story of joys and sorrows, ups and downs of life around a man and three women, but also reflects a strong "tone" culture in Shanghai.
Nanjing Road, Huanghe Road, Jinxian Road, Peace Hotel, Zhizhen Garden, Night Tokyo......
From the working environment, living space to urban landscape, and living Xi, there is "history" in the play, with emotions, with a refined and exquisite tone.
Daily, practical but not improvised, not flickering, bustling, noisy, still eating, dressing, the audience can feel the unique atmosphere and taste of Shanghai Tang.
This drama not only has the "tone" of a "Shanghai-style" drama, but also reflects the charm of a unique regional culture.
Wong Kar-wai tone
Stories are important, emotions are more important
"Flowers" also has a kind of Wong Kar-wai's "tone" that we are looking forward to.
The hazy and blurry art space, the flowing and moving camera images, the editing method of cross-flashbacks, the affectionate compositional modeling, the lyrical and freehand scene scheduling, plus a large number of musical melodies of Hong Kong and Taiwan songs with a sense of the times, and even many familiar scenes, details, and scene scheduling in "Chongqing Forest", "Fallen Angel", "In the Mood for Love" and "2046", including the performance and shaping of the actors, all of which together constitute the characteristics of Wong Kar-wai.
Wong Kar-wai also used his talent for expressing strong dramatic conflicts in "Mong Kok Carmen", "The True Story of A Fei", "Happy Spring" and "The Grandmaster" to the plots of "business wars" and "stock wars";
He is good at highlighting people's emotional tension and uses it to express people's separation and clutch, and combines emotions and stories to the greatest extent.
Wong Kar-wai, although there are still many debatable points in the control of rhythm, emotional proportion, and music processing, this series not only has the meticulous development and portrayal of the story and characters, but also has a strong creation of emotions and atmosphere, which is not only in line with his film style, but also reflects the linear characteristics of the TV series narrative.
The tone of the times
The sea is wide and the sky is high, and the birds can fly
Whether it is the temperament of the characters, the Shanghainese style, or the Wong Kar-wai brand, the most important thing is that they together embody a "tone of the times".
The core story of the TV series takes place in Shanghai from 1992 to 1994, which is the time when China's market economy reform will meet and open and close.
Just like a song often used in the play, "I am a little bird, I want to fly and fly, but I can't fly high", which has almost become a portrayal of everyone's dream-chasing mentality in that era.
Challenges and opportunities, changes and struggles are changing people and society with each passing day.
On the 755-meter-long street of Huanghe Road, the tone of the times of social change and self-worth reshaping presented by all kinds of characters reflects the surging of the great era.
This tone of the times also brings the audience a sense of nostalgia and remembrance that things are wrong and time is no longer there.
"Goodbye to the rivers and lakes" and "goodbye to the times", accompanied by the song "Looking Back Again" that appears many times in the play, jointly create an aesthetic experience where the past is gone, and the joy and sorrow are intertwined.
The "drama" has a tone, which makes this work have obvious "differences" from the narrative, audio-visual methods, and aesthetic pursuits of traditional TV dramas, and for the audience, this difference may be a strangeness.
There are pros and cons to this tone.
However, Chinese TV dramas should improve their aesthetic style, and Chinese TV dramas should have more aesthetic pursuits, so why not have more distinctive tones - highlight the spirit of the characters while telling the story, reflect the spirit of the times while writing the characters, and contain an aesthetic spirit while reflecting the times.
(This article is from the WeChat public account of "CCTV TV Drama", the author is Yin Hong, a special commentator of CCTV, a professor at Tsinghua University, vice chairman of the China Film Association, and vice chairman of the China Literature and Art Critics Association.) ）
Source: CCTV News