"Splendid Her" was officially launched on streaming after getting a full 100 million box office in a little more than a month.
This Chinese version of "Grandma Ji Chun" is mainly Hui Yinghong, an old drama bone who "abandoned martial arts and followed literature", and Liu Haocun, a "resource expert" who never worries about not acting.
I really don't want to repeat the plot of the film anymore, because all the key plots are one-to-one reproductions of "Grandma Ji Chun", and the painting of the key prop called "Confession" is also based on the original version.
Interested friends can jump to that issue from the link below.
"Grandma Ji Chun": At the end of the sky and the sea, there is a family affection that accompanies each other
1
Let's start with the few adaptation highlights of this movie.
One is that when the grandmother took her granddaughter to the city to buy clothes, the grandmother firmly grasped her granddaughter's hand with her two hands behind her back, as if she was afraid that her granddaughter would get lost again.
The original version did not use such a close-up to show the worry and instinctive reaction of the grandmother.
In the other place, Si Ran told her grandmother that Jiayi had died when she was a child, and her grandmother's instantaneous reaction was to slap Si Ran and then stare at Si Ran for a long time, with anger and pain in her eyes, and some powerlessness that she couldn't accept reality.
Before leaving, she also pulled the dolphin ornament from Si Ran's neck. This slightly intense emotion is very different from the relatively calm reaction of the original Grandma Ji Chun.
The reason for this is that on the one hand, the domestic version canceled the setting that grandma had already guessed that the girl in front of her was not her own granddaughter, and grandma had always believed that her favorite Jiayi was back.
Therefore, the ups and downs of gaining after losing, and completely losing after gaining made grandma have the excesses of human nature.
Another point is to mention the inexplicable adaptation of domestic remakes.
The original Huizhi and his girlfriend were forced to participate in the fairy jump, and after the East Window incident, they avoided the pursuit of their gangster friends. She happened to see the missing person notice posted by Grandma Ji Chun to find Enzhu, and in order to escape, she chose to take the initiative to contact her grandmother.
The domestic version is that Si Ran accidentally pushed the gangsters downstairs in order to avoid torture and get back the "nude photos" he was photographed.
She fled to the cold chain car, and happened to be found by the cold chain truck driver who had received a missing person notice, and finally contacted her grandmother.
This kind of adaptation seems to beautify the girl's moral flaws, but in fact, it makes the relationship between the grandparents and grandchildren, who are not related by blood, more twisted and alienated, which also makes the emotions that gradually form later beyond kinship and even more family affection less convincing.
2
The problems in the adaptation of the film can be described as indiscriminate, which are basically ineffective, useless, and even counterproductive.
For example, the court trial scene for sensationalism and turning completely cut off the soothing atmosphere that a warm and sincere movie should have.
The flow and change of emotions will always originate from the subtle influence, and the court scene is afraid that the audience will not feel the warming of emotions and the sublimation of the theme in the day and night of the grandmother and granddaughter.
Moreover, in addition to the grandmother's encouragement of her granddaughter to live a good life, there is also an important person who is the art teacher.
In the original version, the art teacher said to Eun-joo, "What you want to see is not a stone statue, but light." This is to guide Eun-joo to change her perspective, change her focus on life, and encourage her to use a healthy and optimistic attitude to depict real and beautiful things.
But the domestic version has always been preaching and accusing. "Do you only have shadows in your heart, and can't you see the light?" teachings that are too straightforward and cold, even if well-intentioned, are likely to backfire.
Behind this is not only the charm of language arts, but also the difference between the creator's perception of real life and subjective mentality.
The domestic version also adapted the original version to fragment a problem that ran throughout.
The question of "the sea is wider or the sky is wider" is consistent with the answer given by the film in the end, "the sea is wider than the sky", because the sea can embrace the sky, and the grandmother hugs her two granddaughters like the sea.
This is also highly consistent with the picture of the grandmother holding the hands of her two granddaughters swimming towards the light of the sea.
The domestic version only mentions that Jiayi told Grandma Si Ran that she was blue and could draw a blue armor, just like Grandma could protect them.
Then after her grandmother developed Alzheimer's disease, Si Ran told her grandmother that she understood why Jiayi said that her grandmother was blue, because grandma was the sea.
Without the contrast and connection between the sea and the sky, grandma is the necessity of the sea, and there is less foreshadowing and logical support.
3
Finally, let's talk about the acting skills of the actors. Liu Haocun's acting skills have the feeling that Duan Yu is learning the six-vein divine sword for the first time, that is, the time is not good.
Several important crying scenes, the one in the police station can be called a nightmare, in the face of Hui Yinghong's layered crying and emotionally complex gaze, Haocun's sister only has a wooden expression.
Although the tears are flowing uncontrollably, it feels like its source is two faucets without emotion and emotion.
The cheeks only act as a drain for tears, allowing the tears to flow smoothly to the cheeks.
Normal crying will inevitably have some subtle convulsions on the face and squeezing deformation between the eyebrows, but Haocun's sister cried so much that it looked beautiful, but there was no emotion, let alone empathy.
In contrast, in that unnecessarily set up trial, Liu Haocun's crying scene was much better.
The corners of the mouth trembled slightly, the face twitched slightly, the tears were curled, covering the small cheeks, and even the innocent big eyes were no longer empty and thoughtless, they opened slightly, and the tears were surging, which was moving.
After getting the emotional and intellectual approval of my grandmother, the tears are still there, the smile is slowly emerging, the expression of true feelings is the most moving, and the performance driven by true feelings can also instantly improve acting skills.
Overall, Liu Haocun's acting skills have been greatly improved compared with "Four Seas", although he still needs the director's guidance, the guidance of old actors, and the strengthening of his perception and experience of life.
From the well-known "beating women", the old drama bone Hui Yinghong, who gradually began to move people's hearts with emotional dramas, is still online, not only does not lose the original version, but also increases the wisdom and impatient temper that the original characters did not show, which can be regarded as giving the characters a new color.
But what is a little strange is that from "I Love You!" to "Save the Suspect" to "Hiding from the Sky and Crossing the Sea", plus this "Splendid Her", the characters played by Hui Yinghong are very similar.
The setting of widowhood and loss of children makes her play a serious lack of emotion, and the tragic character can indeed highlight the dramatic tension of the character through crying scenes and resistance, but too much repetition gives people a feeling of aesthetic fatigue.
What's more coincidental is that these films I've talked about before are all remakes.
Using old drama bones with the new generation of actors is not so much to collide with different dramatic sparks, but to regard the acting skills of old drama bones as a life-saving straw for the film's reputation.
It's just that for movies with suspense elements in the plot like "Saving the Suspect" and "Hiding from the Sea", no matter how brilliant the acting skills are, they can't save the sparse story.
"Splendid Her" also has this feeling, that is, the adapted parts are basically redundant, useless and even self-defeating, and those moving parts are also a continuation of the original version, and they also depend on the stable performance of the actors' acting skills to be revealed.
The picture in this article comes from the Internet
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