42-year-old Zhou Yumin and 37-year-old Song Qian played a couple, in order to show their youthful and excessive beauty, and the result was very dramatic
The 2024 "Another Blue" will "open the eyes" of the audience as soon as it starts broadcasting, how exciting is the plot? It's just that the face of the leading actor is too P! 42-year-old Zhou Yumin and 37-year-old Song Qian insist on playing some young people under 30, didn't the crew force themselves to a dead end? Especially with excessive beauty, looking at the faces of the two leading actors that are so smooth that they can shine a human figure, is this a youth drama or a science fiction film, can the face be so smooth?
Those post-beautification treatments made netizens talk a lot. could have watched a down-to-earth urban drama, but it turned out to be a face-appreciating conference, which made the audience addicted. The other actors still maintain a more realistic picture of life, with a lot of wrinkles, acne, and pores, and then look at the hero and heroine, it is simply a baby face that comes out of the painting!
What's more, this phenomenon of "grinding skin" has spread from costume dramas to modern urban dramas, and it has become a popular trend. As the saying goes, "the face is the second business card of a person", it seems to have become "the face is the canvas of the later stage". Is this a problem with the actors, or has the director and post-production team's pursuit of beauty reached the point of paranoia?
The next thing to talk about is the contradiction between the plot background and the character image, "Another Blue" tells the story of a pair of mature men and women who decide to start a business in a small city after a career setback and inherit the intangible cultural heritage. It stands to reason that this should show the struggle of an adult, but what about reality? The faces of the male and female protagonists are P like the little fresh meat that has just graduated, and the gap between the plot and the image is big enough to control the direction of the whole play.
In "Another Blue", the 30-year-old Song Qian plays a migrant worker, who is a flower raised in a greenhouse, and when facing the camera, there is no trace of fatigue on his face, but all kinds of beauty filters are open, which makes people wonder every minute whether this is filming a fairy descending to earth, rather than telling the bitterness and sweetness of the worker. One minute off stage, ten years on stage, we watch TV series, not to see how the protagonists are ten years younger, but to see how they really deal with life. This 30-year-old "working fairy" works late into the night every day, and she can't even find a single acne mark on her face, which is really an inspirational textbook!
Let's talk about the magic of our hero and heroine's beauty. Every detail on the faces of the other actors in the play is clearly visible, nasolabial folds, eye bags, and pores do not fall, which is like a real older worker. And Zhou Yumin and Song Qian, as soon as the camera zoomed in, they immediately transformed, handsome guys and beauties who returned from middle age, nasolabial folds loomed, pores disappeared, and people couldn't help but ask, can this technology be popularized in the daily life of ordinary people?
This kind of excessive beautification treatment greatly reduces the authenticity of the characters, and also seriously affects the audience's viewing experience. Originally, the audience came for the plot, but they were made to ponder for a long time by this untimely beauty, what is going on with this skin? It's obviously to show the bitterness and frustration of the characters, but it makes people feel like they're living in a high-end SPA center. The characters of Zhou Yumin and Song Qian are like two perfect images from the high-definition world, and the high contrast with other characters makes people feel like they are in a goof.
The most offensive thing is that this excessive beautification treatment is not an accidental phenomenon, but an aesthetic choice deliberately made by the screenwriter and director. Why not let the actors show up in their truest faces? Why do you have to use filters to beautify reality?
Take the time to sit down and chase a drama, I want to see things close to life, and it turns out that we come up with a "face can skate" plot, every time the protagonist appears, the smooth face is not good, as if he just came out of the beauty salon, compared with other characters in the play, it is simply alien, and the whole painting style is not right. This approach not only makes people feel that the crew has neglected the audience's IQ, but also weakens the sense of layering and realism that the characters should have.
Let's talk about the gap between the content of the plot and the audience's expectations. The so-called "adult story" in the play can clearly show the struggle and growth of middle-aged people very well, but the director has to add a layer of innocent beauty to turn the originally potentially in-depth story into a "sugar-coated cannonball". What most viewers want to see is how the characters stay resilient under the weight of life, not where the wrinkles on their faces go. This approach deviates from the realistic plot and greatly reduces the realism of the script.
Regarding the director's setting of the character image, the director may have good intentions and hopes to attract more young audiences through beautification, but this strategy obviously ignores a core problem, the audience is here to see the story, not the face. Excessive beautification, but it makes people feel like the character has traveled through time, without a sense of substitution, which is no different from what we often say "holding a telescope to watch other people's homes live", which can neither see clearly nor get close to feelings.
Finally, let's talk about the painting style of this series idol drama and the audience's embarrassing mood. There are a lot of "poetry recitation" dialogues at the beginning, and it sounds like eating a mouthful of garlic, which is difficult to swallow. This kind of dialogue may still have a market in romance novels ten years ago, but in today's urban dramas, it can't help but feel artificial. A good drama should be able to resonate with the audience, rather than making the audience want to turn off the TV after listening to two sentences. This kind of stylistic dislocation makes people feel that this drama is incomprehensible and embarrassing.