Looking at the disheveled Zhao Liying in "Article 20", stop pretending to be a "fake poor" in domestic dramas

Copywriting | Fourteen North

Edit | Nanfeng

Which movie have you watched during this year's Spring Festival?

Sure enough, in this kind of family day, the film market is always happy and sad.

Jia Ling took "Hot and Hot" to completely stand out of the encirclement and become the biggest winner of the word-of-mouth box office double explosion in 2024.

Shen Teng and Han Han teamed up again, and "Flying Life 2" also achieved quite good results.

At the same time, "Let's Shake the Sun Together" and "Mr. Red Carpet" were officially announced.

knew that it was a fairy fight, so he had to bite the bullet, but the result was dismal and had to be delayed, and he ran away if he lost the bet, which caught the audience off guard.

However, the box office is also a little ugly, as well as "Article 20".

In fact, it is not bad, but for Lao Mouzi, who was able to win the championship in the last Spring Festival and National Day, this record is still a bit unequal in terms of quality.

In my opinion, whether it is the comedic effect or the depth of the plot, "Article 20" is definitely a superior work.

Especially the characterization of Zhao Liying in the film, which really made my eyes shine.

The national teacher is the national teacher, and in the film, you can feel the full breath of life from these characters all the time.

They don't even need to speak, they only retain their own shapes, and when they appear in the same frame, the full group portrait is already coming.

And Hao Xiuping, played by Zhao Liying, is like a thorn that pierces deeply into the hearts of the audience.

It's just a set of clothes, obviously washed and faded, slightly revealing white edges (in fact, it's not white) underwear, plus loose pants, and shoes that can't be used anymore.

The short-sleeved child next to him is also too old.

When these two characters appear on the scene, the whole body is telling about the poverty of the family from top to bottom, coupled with the superb acting skills of the actors, and there is no action yet, I have even begun to feel worried.

Even the schoolbag, which only has one shot, is full of a sense of age.

This kind of dirty and worn-out backpack, I think, many viewers with some life experience can think of what kind of bag they bought in the market at the first time.

And Zhao Liying's performance is also completely in line with the character created for her by director Zhang Yimou.

When I saw the heroine bring the clothes she wore and asked Hao Xiuping to change them, that kind of stunned state, and disbelief and cautious little eyes, were really distressing.

In order to make her husband's friend agree to be a witness, Hao Xiuping did not hesitate to kneel directly in front of the other party.

At this time, the tattered clothes on Zhao Liying's body became more prominent.

What impressed me the most was the part where Hao Xiuping was violated.

Zhao Liying's hair has been scratched to tatters, her face is scarred, and the marks on her neck and collarbone are shocking.

The collar of her upper body was grabbed and hung loosely on her body, and I was even worried that there would be a code in the next second.

At this time, she couldn't take care of her embarrassment at all, she didn't even have time to wipe the nosebleed, and gestured to her husband to say that she didn't want to live anymore.

It's miserable, it's miserable.

And what also surprised the audience was the detail portrayal that Lao Mouzi was best at.

In addition to the characters, the only thing that can show the protagonist's family situation is the state of residence.

And Hao Xiuping's home is so real that it makes people desperate.

It's a brick house that is no longer common, and the door is locked, but it seems that it will break without too much kicking.

The windows next to it have long been smashed with sharp weapons, and there are especially large characters everywhere, as well as two broken hangers hanging in the drying area, and a small chair in front of the door.

There is also life at home.

It's like pots and pans that others don't want, all kinds of spices that have been used, and the traces on the cutting board also feel like they haven't been used for a few days.

Seriously, in fact, Hao Xiuping's house in the movie is swept away, even if there are not so many details, it is completely reasonable.

However, with these details, Hao Xiuping's own image has become fuller.

It's really too poor.

And in order to better show the characters, Zhao Liying dressed very plainly when she experienced life outside the play.

I think it's a two-way rush between the director and the actor that will leave such a realistic visual effect on the audience.

In fact, Article 20 is not only the poor of Hao Xiuping's family.

For example, Zhang Guisheng, who lost his life because of petitioning, Liu Wenjing, who has evil retribution, and Hao Xiuping's husband's village, etc.

In fact, nowhere is deliberately showing their poverty, but the details are everywhere, and Lao Mouzi's skills are really worth learning from many directors.

In fact, portraying the poor as real and powerful should have been the level of domestic movies and TV series.

However, the audience has already seen too many "fake poor people" in domestic works.

For example, several urban dramas of CCTV.

In "Fearless", the heroine owes a huge debt, four dishes for two people in a luxury car and a mansion, and a third of the money from the sale of the house will be used to fight a lawsuit that will be lost.

In "Good Things Come in Pairs", the second female who worships gold, and her younger brother are not very good at cooking, and usually eat takeout or fat loss meals.

Early in the morning, the woman asked her younger brother to fry two eggs for herself, and the younger brother backhanded "You are really extravagant today", which directly made the audience laugh.

It is also the screenwriter who repeatedly mentioned that the two who are so poor that they can't afford to pay the rent and eat two eggs are extravagant, living in a luxurious location, with a kitchen, a bathroom, a bedroom and a living room, plus a large open-air balcony.

I'm surprised to eat two eggs, what are you two pretending to be here?

In fact, sometimes, as long as you look at the state of the poor in the play, you can know whether the director and screenwriter have life experience, or what their level is.

How many office workers, with a wave of their hands, buy a car in full, and if they want to repay their credit cards, they can live in the downtown area, and they don't even eat a small hot pot or lie in the bathtub and sell miserably.

The audience couldn't laugh or cry when they saw it, and it was nothing more than that people could come up with the most "poor" way of life.

epilogue

In fact, what surprised me the most about "Article 20" was that it used comedy to make a tragic story.

The film has connotations, and it is also a real discussion of the law and the current situation of society, which wants to attract the attention of the public.

The characters in the film, whether good or evil, have their own complete behavioral logic, and every word spoken and every subtle expression change make the audience deeply attracted and unable to extricate themselves.

And the performance of the poor in it deliberately avoids the intuitive misery, allowing the audience to feel it through the plot, which can really show the director's ability.

Those directors and screenwriters who can create "fake poor people" should really take a look at more film and television dramas with good feedback, otherwise they will really laugh and be generous.

-END-

Nanfeng entertainment circle

Quality entertainment views