The most outrageous costume drama this year is "The Happy Affair of the Sedan Chair". The plot content follows "The Wrong Sedan Chair to Marry the Right Lang" more than 20 years ago, and the selection of actors is a big hit with "aesthetic landslide" and "acting Waterloo".
With the advancement of the plot of "Happy Affair in a Sedan Chair", Bai Bingke's performance as the role of Du Bingyan was even more reprimanded and unsatisfactory. In terms of plot, both the old and new versions retain the plot of Du Bingyan disguising herself as a man.
However, although the old version of Du Bingyan is not a big change, it can be called full of sincerity, and the actor is almost photogenic. The costumes are bulging, the shape is simple and rough, and the actors are in great contrast with the appearance of Du Bingyan in the early stage.
But in "Happy Occasion in the Sedan Chair", Bai Bing, who is dressed as a man, can completely deceive herself, and she still does not forget her exquisite makeup when she changes into men's clothes.
Bai Bingke in the mirror, when she changed into a pale pink lipstick, her face was dyed with a gentle flush, as if the enthusiasm in the fire was quietly blooming. Her meticulously depicted eyebrows, like a work of art sketched by a painter with brushstrokes, are both delicate and infectious.
The pearl earrings worn in her ears complement her bizarre jawline, adding a touch of elegance and mystery to her outfit.
For those actors who have both acting skills and image, their performance on stage is often beyond the ordinary. Of course, the "women dressed as men" in domestic dramas have their own unique charms and challenges.
And the Korean-style semi-permanent eyebrows, spider-like eyelashes and bright eyeliner, almost writing the word "female" on her face, such a makeup effect has undoubtedly won her the recognition of the audience.
The well-crafted beard and just the right eye shape, this is to present a feeling that is both casual and well-designed, perfectly matching her character setting.
In contrast, Bai Bingke's basic makeup when she dressed as a man, and the woman dressed as a man in a costume drama by a Korean god, her full makeup appeared brighter and more complete. In the midst of a surging crowd of men, the woman looked out of place in men's clothing.
Her eyeliner is elongated and accentuated with pink eyeshadow while matching with a tonal lipstick to make her makeup look more refined and prominent. In "Mrs. Feizhu", the role of Yang Mi finally abandoned the bright lipstick.
However, her black eyeliner and obtrusive eye makeup still make her look less masculine. If it weren't for the plot, I thought her usual dressing style was always plain and elegant.
After her men's incarnation, she still wears poodle bangs and a fake beard, revealing an elusive mystery between her words. Her gurinaza-like eyelashes seemed to sweep away the passing audience.
The reflective mirror lipstick is so delicate that anyone who sees it can't help but praise "this girl is so smart". Whether it is a costume drama or a modern drama, such a shape is very eye-catching.
Zhu Xudan in "The Programmer Is So Cute" wears a wide suit, and her image of a woman dressed as a man in modern dramas is impressive.
Her big eyes and black eyeliner require closer inspection to determine that she is actually a girl. Of course, not every domestic drama is so shocking, and some works are simple, but they are also made with care.
In "The Legend of the New White Lady", Ye Tongnu disguised herself as a man and successfully deceived many audiences.
Now I have the impression that Xu Xian is a weak scholar and does not have the temperament of an ordinary woman. Looking carefully at Ye Tong's makeup at that time, he basically only made a bottom. Her short black eyebrows and her brain gate that does not do too much embellishment at all add credibility to Ye Tong's portrayal of a man.
In contrast, Xue Qianxun played by Wang Zuxian highlights the heroic charm. Her eyebrows are unusually rough, and although her facial features can vaguely show feminine qualities, her every movement and every gesture exudes the charm of male hormones.
In fact, the mystery of women dressing up as men is not just a matter of actors' packaging. Abandoning delicate makeup and getting rid of the feminine side, interpretation is more important.
Bai Yuchuan in "Lotus Battle" has healthy wheat-colored skin and outstanding eye makeup. But it does not hide the male sexual tension created by the actor Tania To's wife.
Although her figure is petite, her eyes reveal the unique temperament of a young man, and Lin Qingxia's own special sense of bones, revealing a sense of original nature everywhere.
Compared with the most popular melon seed face and goose egg face, a big beauty like Lin Qingxia has a sense of wisdom and surprise when she dresses up as a man. In these years, You Jingru has attracted much attention in the drama "The Female Son" with her melon seed face and concubine temperament, and her men's style not only presents a free-spirited style, but also brings a visual amazement to the audience.
She sits casually, her eyes are defiant, and her smile shows her uninhibited masculine charm, making her performance infectious.
Ye Tong, Wang Zuxian and Lin Qingxia's women's masquerades were also bold attempts back then, and their performances surprised the audience, as if they saw a breakthrough in gender boundaries.
In the TV series "Celebrating More Than Years", Zhan Doudou walked on the road with her bright hairstyle, stretching her shoulders, showing her heroic demeanor, although her smile is feminine, but it perfectly interprets the sense of immediacy of men.
Observe carefully, although Liu Meitong, who plays Zhan Doudou, is petite, her female dress as a man is very convincing.
These actresses not only dare to perform, but also completely make the audience feel a sense of gender dislocation and beauty from their appearance to demeanor, and their performance is like an artistic challenge, giving the audience a new understanding and feeling of traditional gender roles.
This kind of bold attempt and display is not only a challenge to acting skills, but also a new stimulation of the audience's vision and psychology.
Xing En in "Little Girls Don't Give Up", she freely showed a beauty that does not rely on heavy makeup. Sitting there, she exudes a manly air and always looks at each other with a confident look in her eyes when talking. Her aura is powerful, from form to god, showing the demeanor of a young chivalrous person.
In "The Twelve Hours of Chang'an", as soon as the fish intestine appeared, it was full of ruffian atmosphere, and its uninhibited personality and comfortable attitude were impressive. His outfit and makeup, though rough, reveal an indomitable spirit.
Li Yuan's fish intestines, although she is a beautiful woman with all kinds of amorous feelings, her temperament is mature and stable.
In stark contrast to her, although she is also dressed as a woman, Xing En's temperament is tougher, and the difference is so big that it is almost unrecognizable to the same person.
In general, the role of women in costume dramas as men is actually an act of breaking through the gender framework. This kind of performance is not only supported by makeup or costumes, but also by the actor's deep grasp and wonderful interpretation of the role. Under the feudal social system, women were bound to the attic and were required to play the piano, chess, calligraphy and painting, and be virtuous and virtuous.
But how can the ancient women who can become the protagonists be willing to be canaries in the attic, they prefer to go into battle to kill the enemy, and they want to break through the world. But only a small part of the women dressed as men in film and television dramas show the awakening of women's consciousness. Most of the women dress up as men, just to meet the male protagonist and start a mutual affection full of taboo feelings with the male protagonist.
This is not only the problem of the actress's makeup being unreasonable, but also the embodiment of the superficial plot, the downgrading of the personality, and the aesthetic shackles.