Recently, a piece of news is like a bombshell in the film and television industry - the photos of Donnie Yen's version of "Dragon Babu" have been exposed.
When the camera focused on Qiao Feng played by Donnie Yen, the audience was stunned. He was dressed in coarse cloth clothes, his shawl was messy, and his eye bags and nasolabial folds were particularly eye-catching, and he did not have the aura of a martial arts master at all. This kind of shape is not so much scary as it is more like a down-and-out man begging for a life on the street.
"This is Qiao Feng, it's just a beggar who asks for food!" Someone couldn't help but whisper.
However, despite everyone's constant complaints, there is still a glimmer of hope in my heart. After all, in the current film and television industry, young actors seem to be more keen on playing handsome, and there are very few who can really play.
Therefore, the audience had to lower their expectations and just hope that Donnie Yen could have a brilliant performance in the martial arts scene.
Just when people have not recovered from the shock of the "beggar version" Qiao Feng, another bombshell news is thunderous - Zhou Yiwei will play Huang Yaoshi in the new version of "East Evil and West Poison".
This news should have made people look forward to it, but the audience reacted coldly, and there was a sound of ridicule on the Internet, some people ridiculed this version of Huang Yaoshi for being greasy, and some people even directly criticized this place where he is a master of the world, he is simply a gangster.
Audiences have generally reported that the successive remakes have been disappointing, and they have begun to miss the good times that those classic characters brought to everyone. Among them, Jin Chaoqun's version of Bao Zheng is a "symbol of majesty", and his "presumptuousness" can shock the four seats, while Zhao Yazhi's version of Bai Suzhen is gentle and moving, with her own "fairy spirit", and her gestures are impressive.
On the screen at that time, heroes were heroes, beauties were beauties, and every character was lifelike and unforgettable.
However, as time went on, the remake trend swept in. Those classic characters that are deeply rooted in the hearts of the people have been "disfigured" in remakes again and again, causing the audience to question: Is it because the years have ruthlessly changed our aesthetics, or are these characters no longer able to better attract modern audiences?
Perhaps, the answer lies not in the middle of these two extremes. The remake itself is not a beast, the key is to inject new vitality on the basis of inheriting the classics. Unfortunately, many remakes in recent years don't seem to have found that balance.
They are either too "modern" and lose the charm of the original, or they are too rigid and lack innovation.
In the face of such a dilemma, the audience began to appeal: "Instead of watching these spicy-eyed remakes, let the classics be re-screened!" Their voices may reflect a paradox in the current film and television market: while pursuing innovation, how to not forget the original intention and keep the bottom line of the classics?
Nowadays, the trailers of remakes such as "Dragon Babu" and "East Evil and West Poison" continue to come out, making the audience's mood uneasy. They are not only looking forward to the novel interpretation, but also worried that the classic in their hearts will be "invaded" again, and this contradiction is a true reflection of the audience under the current remake trend.
When Zhou Zhouwei's new appearance as Huang Yaoshi in "East Evil and West Poison" was exposed, the audience's reaction was really laughable. This Peach Blossom Island Owner, who was supposed to be immortal and transcendent, was ridiculed as a "greasy uncle" in the new version, and looked more like a street gangster than a martial arts master.
This event seems to have opened a Pandora's box and made people look back on the jaw-dropping remake roles in recent years.
Rewind time to not long ago, Zhang Yishan's image of Wei Xiaobao shocked many audiences. However, among the many versions of Wei Xiaobao, Zhang Yishan's interpretation style has caused controversy.
He didn't show Wei Xiaobao's wit and cunning, but was more like a "monkey Xiaobao", his expression was exaggerated, his eyes were like copper bells, as if Liu Xing in "Family with Children" had traveled to the Qing Dynasty, and some viewers couldn't help but complain: "Where is Wei Xiaobao, it is clearly the Qing Dynasty version of Liu Xing!" "
After the audience originally thought that they had seen the limits of the remake, Chen Xiang's version of Xiang Shaolong refreshed everyone's cognition. Xiang Shaolong in the original book is a majestic and masculine special forces, but Chen Xiang's interpretation is shocking.
He has oily hair, lipstick, earrings, and heavy makeup like a "sissy", and he can't see the tough temperament of the special forces at all, and what makes people laugh and cry is that the crew also arranged a plot of exploding clothes, but Chen Xiang's thin figure really can't support such a scene.
The charm of these characters in the original book is in strong contrast to the current "Honkai" version. Wei Xiaobao should have been resourceful and comfortable between the court and the rivers and lakes; Xiang Shaolong should be brave and fearless, and his momentum is still undiminished through the millennium.
But now these characters seem to be dressed in a comical coat, which makes the audience cry and laugh.
This kind of character collapse is not uncommon. In the TV series "The Legend of the New White Snake", Bai Suzhen played by Sun Xiaoxiao is considered by the audience to be "the ugliest Bai Suzhen". Her excessively high hairline makes people feel that she looks like a "bald" white lady, and the whole person still exudes a thick air of wind and dust, no matter how you look at it, it doesn't look like the classical beauty temperament of "showing off her wisdom".
The audience sighed: "There is no Bai Suzhen after Zhao Yazhi!" "。
also encountered "Waterloo" and Jiang Mengjie's version of Lin Daiyu. Sister Lin in the original book should be "two bends like frowning eyebrows, a pair of eyes that seem to be crying but not crying", but Jiang Mengjie's version is a double chin with a sausage mouth, and the baby's fat face does not have the appearance of "pampered and sick" at all.
Some viewers couldn't help but complain: "Where is Lin Daiyu, it's just a bear child who wants to splash and roll in the Grand View Garden!" "。
In "Dynasty Warriors", Han Geng's Guan Yu's appearance is really shocking. Guan Yu in the historical record is "nine feet long and two feet long", majestic. However, Han Geng's version of Guan Yu is thin and weak, with a face like melon seeds, and is nicknamed "Han Slender Pavilion Monkey and Guan Yunshort" by netizens.
Some people are even worried, with this body, can they ride a red rabbit horse thin?
The collapse of these remakes not only disrespects the original work, but also challenges the audience's aesthetic standards. They play like stuntmen in flamboyant costumes, with rough acting skills and despite their efforts to imitate once-brilliant characters, they fail to get to the core.
In this case, many viewers began to miss those classic versions of the character interpretations. They recalled Chen Xiaochun's version of Wei Xiaobao who was cute but cute, Gu Tianle's version of Xiang Shaolong was masculine and tough, and Chen Xiaoxu's version of Lin Daiyu was Chu Chu moving... The reason why these roles can become classics is precisely because of the actors' deep understanding and interpretation.
However, in the current wave of remakes, it seems that there has been a lack of deep understanding of the characters, replaced by an impetuous mentality of rushing to achieve results. It seems that just by putting on a new face, you can catch the audience's eye.
As everyone knows, it is this mentality that makes the once glorious characters gradually fade in remakes again and again, and finally become the so-called "spicy eyes".
The problem faced by the remake is not only the collapse of the actor's appearance, but the deeper problem is the collapse of the character's spiritual core. This all-round character crisis, from the external image of the character to the internal quality, has made the audience feel deeply disappointed and helpless.
Let's first look at the issue of appearance. In "The Legend of the New White Snake", Bai Suzhen played by Sun Xiaoxiao is generally considered to be a controversial topic. was originally supposed to be a "beautiful lady dressed in white", but because of her excessively high hairline and unnatural makeup, Sun Xiaoxiao was nicknamed "bald white lady" by the audience.
What's even more regrettable is that Sun Xiaoxiao's demeanor is also problematic - not only does he have no neck but also a hunchback, and there is no trace of the classical beauty temperament of "show off and wisdom", and some viewers commented helplessly: "Where is this snake demon fairy who has been waiting for thousands of years, it's like a modern Internet celebrity who has traveled back."
Also caught in the appearance crisis is Jiang Mengjie's version of Lin Daiyu. Sister Lin in the original work should be "two bends like frowning eyebrows, a pair of eyes that seem to cry but not crying", but Jiang Mengjie's version is a double chin with a sausage mouth, where does the baby's fat face look like a little "pampered and sick"?
Some viewers couldn't help but complain: "This Lin Daiyu looks like a bear child who wants to splash and roll in the Grand View Garden, how can there be any aura of Sister Lin?" "
However, the problems with character struggles go far beyond that. What's even more worrying is that many remake characters have deficiencies in acting skills and temperament, which directly leads to the collapse of the character's personality and heart.
Taking Ding Guansen's version of Linghu Chong as an example, Ling Hu Chong in the original book should have been a chic and uninhibited and suave elder brother, but Ding Guansen's interpretation seems immature and weak. His posture of holding the sword makes people feel an inexplicable sense of powerlessness, and the whole fight is like playing at home.
Some viewers said helplessly: "This Ling Hu Chong looks like a child playing martial arts games, how can he look like a hero?" "。
Han Geng's Guan Yu's appearance in the TV series surprised the audience. The historical Guan Yu is chivalrous and courageous, nine feet long, and his beard is two feet long, while Han Geng's version of Guan Yu is thin and weak, and his face is like melon seeds, which is nicknamed "Han Slender Pavilion Monkey and Guan Yunshort" by netizens.
Some viewers even said worriedly: "With this body, I'm afraid I can't even ride a red rabbit horse, right?" This may be the only Guan Yu who makes people worry about being killed."
In the face of this all-encompassing role collapse, we can't help but ask: what is causing this to happen? The possible answer lies in the superficial understanding and perfunctory attitude of some actors and production teams towards the characters.
Compared to those classic versions of the actors, their efforts for the roles are really touching. In order to create the role of Xiang Shaolong, Gu Tianle did not hesitate to tan himself, which made people have to admire; Chen Xiaochun's Wei Xiaobao, although cute and cute, is witty and witty, and he can make people laugh without exaggeration, which is also his charm.
Jiao Enjun's version of Erlang God is regarded as a classic by the audience, he is not only handsome, but also shows the courage of Erlang God to the fullest, and no one has surpassed it so far.
In today's remake market, professionalism and a deep understanding of the character seem hard to find. Instead, there is an impetuous mentality of rushing to achieve results, as if a new face can attract the audience's attention.
However, true character building is not as simple as changing into costumes, it requires the actor to understand the character from the bottom of his heart, accurately grasp the spirit of the character, and perfectly display this understanding and grasp in the performance.
When we see these "collapsed" remake characters, perhaps we should reflect on whether we have neglected the respect and inheritance of the classics while pursuing renovations? In the pursuit of quick success, have we lost the spirit of craftsmanship? Only by finding the answers to these questions can we truly hope to create excellent works that are both classic and up-to-date.
In the remake, the most uncomfortable thing for the audience is the characters who seem to have a strong sense of "crossing over". This dislocation of time and space is not only manifested in the modeling, but also runs through the temperament and behavior of the characters, creating a double sense of betrayal that makes people laugh and cry.
Now let's take a look at Wang Kai's version of Cao Cao. In "Dynasty Warriors", this supposedly majestic hero in troubled times was portrayed as a non-mainstream teenager. His hairstyle is fluffy and his bangs are long, and he even wears heavy eyeshadow, which makes people wonder if this is Cao Cao or a modern idol in the Three Kingdoms.
The audience complained directly: "This is clearly the cos Three Kingdoms version of Jay!" Such a design is inconsistent with history, and it is a serious betrayal of the spirit of the character.
The historical record of Cao Cao was tall, and although his beard was short, he was heroic and powerful, leaving people with the impression of being shrewd and capable. However, Wang Kai's version of Cao Cao completely subverts this traditional image.
His appearance is more like a time travel from a Korean drama scene, which is incompatible with the background of the Three Kingdoms era, and this strong sense of disobedience makes it difficult for the audience to connect the youth idol in front of him with the troubled traitor who is strategizing.
The image of Guan Yu in Han Geng's version of "Three Kingdoms" also suffered from "time and space disorder". Guan Yu in history is "nine feet long, two feet long, his face is like a heavy jujube, and his lips are like grease", majestic and extraordinary.
However, Guan Yu played by Han Geng is so thin that people are worried about whether he can control the red rabbit horse, and some viewers even joked: "This may be the only Guan Yu who makes people worry about being killed", this huge contrast in body shape not only destroys Guan Yu's mighty image, but also makes the whole character look ridiculous.
In addition to the "crossing" in modeling, the dislocation of the character's temperament and behavior is even more laughable. For example, Jiang Mengjie's version of Lin Daiyu, in the original work, Lin Daiyu should be "sorrowful and coquettish", giving people a pitiful impression.
However, Jiang Mengjie's interpretation completely deviates from this image, her Lin Daiyu is not only not sick and weak, but like a lively "bear child", ready to splash and roll in the Grand View Garden, this huge contrast in temperament makes the audience completely unable to substitute into the situation of the original work.
Sun Xiaoxiao's version of Bai Suzhen also encountered the same problem. In the traditional impression, Bai Suzhen should be gentle and feminine, revealing fairy spirit in her gestures. But Sun Xiaoxiao's interpretation shows the atmosphere of modern women everywhere.
Her behavior is like a modern Internet celebrity playing the White Lady, and she does not have the temperament of a snake demon who has been cultivated for thousands of years, and this sense of modernity forms a strong conflict with the background of the costume drama, making the whole character extremely incongruous.
This double betrayal of shape and temperament not only affects the audience's viewing experience, but also disrespects the spirit of the original work. It turns those classic characters who should be vivid and vivid into seemingly comical "time-travelers", and staged bizarre farces on the ancient stage, which makes people feel unacceptable.
Faced with such a situation, we can't help but ask: do screenwriters and stylists really not understand these characters? Perhaps, the root of the problem lies in the misunderstanding of "innovation" by some production teams.
They think that changing the shape and incorporating modern elements is innovation, but they don't know that real innovation should be based on an accurate grasp of the spirit of the original work.
Only by innovating on the basis of respecting history and the original can we create characters that are both new and retain the classic charm. Otherwise, the characters we see are all misplaced and ridiculous "traversers".
In the face of the failure of a wave of remakes, the audience expressed a clear attitude: they would rather revisit the classic than accept the new version of "Spicy Eyes". This choice is not only a manifestation of nostalgia, but also a desire for high-quality content.
Let's take a look back at the interpretation of the character that is still enshrined as a classic today. Chen Xiaochun's version of Wei Xiaobao is a character who is both cute and witty, and he doesn't need an exaggerated performance to make people laugh.
He successfully showed Wei Xiaobao's cunning with simplicity, stubbornness and true temperament, vividly interpreting the multi-faceted nature of this complex character.
Watching Lu Songxian's version of Linghu Chong again, people always feel that he is suave and uninhibited, but he exposes his chivalrous emotions in it. His performance in the role of Ling Hu Chong makes people feel that he not only conforms to the depiction of the original work, but also gives the character a unique charm, leaving a deep memory in the audience's hearts.
Jiao Enjun's performance of Erlang God is known as god-level acting. He is not only handsome, but also performs the mighty and brave performance of Erlang God deeply in the hearts of the people. The audience even said that after seeing Jiao Enjun's Erlang God, they once thought that the real Erlang God should be like that.
The reason why these classic roles can endure for a long time is not only the excellent interpretation of the actors, but also the more accurate grasp of the soul of the characters. Their performances are not simple imitations, but a deep understanding and perfect presentation of the spirit of the characters.
Of the many remakes, some pale in comparison. Some of them have lost the charm of the original work in pursuit of "modernity", while others are rigid and lack innovation.
These superficial remakes can't meet the audience's expectations, but instead desecrate the classics.
The audience's retention of classics is revealing their desire for high-quality content. In the current era of fast food culture, those well-crafted and touching characters are particularly precious.
What the audience is looking forward to is a work that can not only inherit the spirit of the classics but also keep pace with the times, rather than simply changing the soup without changing the medicine.
The voice of the current audience has been clearly reflected on social media, and they have put forward corresponding voices against the remake that ruins the three views: "We want to see the re-release of the classics, not these remakes that are indiscriminate!" "。
Such a view expresses the audience's extreme desire for high-quality content, and they do not want to be deceived by shoddy films manipulated by capital.
In this era of information explosion, classic works can endure because they carry the collective memory and emotional sustenance of the audience. Each well-shaped character is like an old friend, accompanying the audience through unforgettable times.
This kind of emotional connection cannot be easily replaced by any rush remake.
Therefore, the audience's choice of remakes sends a clear message: not all classics need to be remade, and not all remakes can become classics. Only those works that truly respect the original work, understand the soul of the characters, and at the same time can give the atmosphere of the new era can win the hearts of the audience.
Behind the frequent remakes is the impetus of the market and capital. The Chinese film and television industry is covered by a large number of remakes every year, and it seems that this has become a pattern. However, this phenomenon has caused people to question and reflect.
A veteran film critic said: "It's remade every year, and it's scolded every year, I don't understand what they want to do." This sentence points out the psychology of many audiences, in fact, the remake itself is not a problem, the key is how to remake it.
Over-consuming classics can be counterproductive, not only failing to attract new audiences, but also losing their original fan base.
The audience is eager to see works that can not only inherit the spirit of the classics, but also keep pace with the times. Perhaps, the future direction should not be limited to simple remakes, but should be used with technological innovation, such as 4K restoration, to bring classics back to the screen with a new look.
As some viewers suggested: "Everyone would rather 4K restoration give old films a 'new life' than see classics destroyed."
At the same time, creators should think about how to give the characters a new connotation of the times while respecting the original work, so that they can truly create film and television works that contain new ideas but do not lose the classic charm.
It's worth noting that not all remakes are failures. In fact, some successful remakes tell us that as long as we can deeply understand the essence of the original work and combine it with the aesthetic needs of contemporary audiences, it is possible to create excellent remakes.
Looking to the future, the film and television industry needs to find a balance between "innovation" and "inheritance". Instead of blindly chasing quantity, it is better to pay attention to the quality of each work. Providing high-quality works and reducing blind remakes is more popular with the audience.
Finally, we look forward to more original works. Today's originals may be tomorrow's classics, and only by constantly creating new classics can we provide a steady stream of inspiration and motivation for the future film and television industry.
In this era of rapid development, we are eager to look forward to excellent works that can truly move people's hearts and stand the test of time. Whether it's a remake or an original, quality must win.
Only in this way can China's film and television industry innovate in inheritance, gradually develop in innovation, and finally create classics of this era.