First, the film market in March 2024 should still be a world of several blockbusters during the Spring Festival, and all films are counting on their stamina to make more box office. However, a dark horse came quietly at this time and completely changed the market pattern.
The small-scale film "Removing the Three Evils Around the Week" has set off an astonishing wave of box office in mainland theaters. This film does not have the blessing of big stars, nor does it have large-scale marketing publicity, but with excellent quality and audience reputation, it has broken through many obstacles step by step.
Why can "Eliminate the Three Evils Everywhere" set off such a huge wave in the mainland film industry? Perhaps it was the unprecedented "church massacre" scene that brought a hearty visual impact to the audience and created a precedent in mainland cinemas.
Or maybe it cleverly borrows allusions, blending the violence of police films, the absurdity of cult films and the reversal of suspense films, perfectly integrating the elements of the three genres, bringing one surprise after another to the audience.
What's more, "Removing the Three Evils Everywhere" is a masterpiece that can withstand multiple interpretations. The story on the surface is fascinating, and the deep moral provokes the audience to think.
Is that Dao Sanctimonious Venerable, who seems to be the culprit, just a puppet being manipulated? Is the mysterious woman who plays the guitar the real "soul character"? These blank spaces and suspense provide the audience with a rich imagination space, and also make the charm of this movie more durable.
Second, in this way, "Removing the Three Evils Around the Week" broke out of the encirclement in the spring schedule as a dark horse, and became a topic of praise among the audience and film critics. In "Removing the Three Evils Around the World", Ruan Jingtian's performance is undoubtedly a highlight of the whole film.
He plays Chen Guilin, who has undergone a thrilling character transformation, from a vicious wanted criminal to a complex and multifaceted character. Ruan Jingtian used superb acting skills to interpret every stage of this role well.
When he first appeared, Chen Guilin was a formidable and ruthless character. Ruan Jingtian portrayed this character extremely vividly: there was flamboyant ruthlessness between his eyebrows, his smile was mixed with evil, but there was a trace of purity in his eyes.
This contradictory trait intertwines to form a unique "aesthetic of violence". His every look and every movement was full of intimidation and made people shudder.
As the plot progresses, Chen Guilin's image begins to undergo subtle changes. Ruan Jingtian skillfully adjusted the appearance of the character: wearing a hat and growing stubble, he became a filial grandson with a frown and a heartache.
At this time, Chen Guilin was a little more stable and deep than the arrogance and arrogance when he was "Guilinzai" before. Ruan Jingtian's performance has become more restrained and complex, and we can see the struggle and pain in his eyes, and feel the inner changes of this character.
In the middle of the plot, Chen Guilin gradually evolves into an outlaw who wants to be a hero. Ruan Jingtian interprets Chen Guilin at this stage as both vigorous and rough, but also with a hint of poetry.
He hides in the shadows, examining the evils of this world, with both vigilance and a desire for justice in his eyes. In the end, when Chen Guilin was confused by His Holiness's gentle words, Ruan Jingtian took on another side of the character.
He is unkempt and has an ugly haircut, but his eyes have become innocent, almost forgetting his brutal nature. Ruan Jingtian's delicate performance shows the character's inner innocence and desire for redemption.
Third, at the end of the movie, when Chen Guilin shaved off his beard and washed his face, Ruan Jingtian's performance was sublimated again. At this time, Chen Guilin seemed to have been reborn, and his pure temperament was surging all over his body.
Despite the sins, his pure eyes made the audience feel compassion. Ruan Jingtian used a gesture of raising his eyes to convey the complex psychological changes of the character, from treacherous to pure, which made people sigh.
Through this series of role transformations, Ruan Jingtian showed his versatility and plasticity as an actor, and also added a lot to "Removing the Three Evils Around the World". In "Removing the Three Evils Around the World", Ruan Jingtian's performance is undoubtedly the highlight of the whole film, and his "box lunch scene" has pushed his acting skills to the peak.
These seemingly simple eating scenes actually contain rich emotional expressions and character portrayals, which have become an excellent stage to show Ruan Jingtian's acting skills. In the first five minutes of the movie, Ruan Jingtian captured the hearts of the audience with a wonderful lunch scene.
In the bustling crowd, Chen Guilin, who was wearing a suit with padded shoulders and a small head, was particularly eye-catching. When a little minion began to tell the story of "Guilin Aberdeen", Chen Guilin was gobbling up a boxed lunch while pricking up his ears to listen carefully, and this dual-purpose performance made the audience's eyes and ears busy at the same time.
Fourth, Ruan Jingtian's performance makes people feel that he is really hungry, or is accumulating energy for the next action. His movements are both realistic and exaggerated: first, he put his mouth on the edge of the box and desperately picked up the rice, stuffing it to the brim; Then he picked up the meat steak and feasted on it, chewing it all over his mouth but still maintaining a bare face and clean mouth.
This sense of contradiction, which is both embarrassing and elegant, undoubtedly adds to the charm of the characters, and also makes the audience watch it with relish, and even feel hungry. What's even more convincing is that Ruan Jingtian can convey complex emotions while eating.
When he heard the rumors about "Guilinzai", his eyes flashed with pride, and there was a smile on the corner of his mouth, as if to say "see through it or not say it". This delicate change of expression perfectly shows Chen Guilin's unruly nature.
When the little minion finished telling the story, Chen Guilin slowly and methodically clarified his identity, and this contrast was even more impressive. In contrast, the dinner scene at the end of the movie presents a very different atmosphere.
This was Chen Guilin's last meal before his execution, and Ruan Jingtian's performance also underwent subtle changes. is no longer the gobbling up like at the beginning, at this moment he is more like an elegant gentleman, chewing slowly, enjoying the meal before the abbot.
He slowly nibbles on bread, elegantly sucks pasta, and sipps the wine in his glass, the whole scene is romantic and lonely. These two completely different eating scenes actually reflect the great changes in Chen Guilin's inner world.
The eagerness to eat at the beginning represents his strong desire to survive and his desire to "live". And the calm eating at the end suggests that he has accepted his coming fate, his heart is at peace, and the desire to "live" is no longer so strong.
Fifth, through these seemingly simple eating scenes, Ruan Jingtian perfectly interpreted Chen Guilin's complex inner world and showed his true strength as a powerful actor. He can inject rich emotions into daily behaviors such as eating, allowing the audience to see the inner waves of the characters through simple actions, and this acting skills are undoubtedly superb.
Ruan Jingtian's lunch scene not only adds to the life of the movie, but also becomes an important means to promote the development of the plot and reveal the hearts of the characters. He uses delicate and nuanced performances to tell the inner world of a complex character, allowing the audience to be unconsciously brought into the emotional world of the character.
This kind of performance, which perfectly combines daily behavior with deep emotions, undoubtedly adds a lot to "Removing the Three Evils Everywhere", and also confirms the truth that "the more real you eat, the more stable your acting skills".
Lunch box drama has always played an important role in film and television works, it is not only a simple daily scene, but also an important carrier to convey the emotions of the characters and promote the development of the plot.
Among the many excellent works, the lunch box scene often becomes the finishing touch, adding a unique charm to the whole work. Taking Stephen Chow's movies as an example, lunch box scenes often become an excellent prop for "seeing the movie and knowing the rod".
In "Curry Peppers", the protagonist smokes while eating a boxed lunch, and the cigarette butts are "fed" to the trash can along with the rice. This seemingly simple action vividly expresses the depression and sourness of the character after being betrayed.
The audience can feel that what he chews repeatedly is not only the grains of rice, but also the bitter emotions that are difficult to swallow. In "Yangtze River No. 7", the protagonist sits on the edge of a high-rise building and eats a homemade box lunch, taking a bite of overnight rice and a mouthful of chaff vegetables, chewing slowly and revealing a rare leisure.
Sixth, although this scene is unremarkable, it condenses the life portrayal of countless migrant workers. There is no exaggerated performance, no deliberate sensationalism, but the most simple picture conveys a strong atmosphere of suffering, which is moving.
In other classic works, the lunch box scene also plays the role of "borrowing strength". The character played by Haiqing in "Home of the Heart" is gobbling up a boxed lunch between busy work, but his eyes are always glued to his mobile phone.
This detail not only shows the character's hard life, but also hints at her inner anxiety and anticipation. We seem to be able to see a hard-working woman who is burdened with a thousand pounds, turning around in many jobs, but she still can't let go of the worries in her heart.
In "Infernal Affairs", Brother Chen, played by Zeng Zhiwei, ate a few ordinary boxed lunches out of the feeling of a full Han banquet. From the horror of a mouth full of oil to a sudden change of color, a performance of just a few seconds has become a classic in film history.
Brother Chen was still feasting one second ago, and the next second he was like ashes because of the sudden bad news, and he swept the lunch box angrily with his chopsticks, which left a deep impression on the audience.
Seventh, these examples fully illustrate that a seemingly ordinary lunch box scene, under the interpretation of excellent actors, can become a powerful tool to convey complex emotions and promote the development of the plot.
It can not only show the daily life of the characters, but also reflect the ups and downs of the characters' hearts, and become an indispensable emotional carrier in film and television works. The reason why "Removing the Three Evils Around the World" can cause such a big response among the audience is largely due to its unique multiple charms.
The film skillfully blends elements from various genres to bring an audio-visual feast to the audience. First of all, the film successfully blends the vigor of a police film, the absurdity of a cult film, and the reversal of a suspense film.
This type of mash-up not only makes the plot more confusing, but also brings one surprise after another to the audience. Whenever the audience thinks they understand the direction of the plot, the movie can always give unexpected twists and maintain a high sense of suspense.
Secondly, the breakthrough in scale of "Removing the Three Evils in the Week" is also one of the key factors for its success. In particular, the shocking scene of the "church massacre" is unprecedented in mainland theaters.
This bold expression not only brings visual impact to the audience, but also makes people feel an unprecedented heartiness. In addition, the film also leaves a lot of details and metaphors that are worth savoring.
Eight, for example, the mysterious woman who plays the guitar, she may be the one behind the whole thing. There is a close-up in the film that shows her condescending witnessing the killing.
This detail implies that even without His Holiness playing and singing, her magical voice can still bewitch sentient beings. Her fearless attitude of going to death calmly has triggered many speculations about her identity among the audience.
"Removing the Three Evils Around the World" is also a work that can withstand multiple interpretations. Ostensibly, it tells a story of sin and redemption. But if we think deeply, we will find that the film explores social reality and human nature.
Is that Dao Sanctimonious Venerable, who seems to be the culprit, just a puppet being manipulated? This kind of blank space and ambiguity gives the audience more room for imagination and discussion.
It is this multi-layered and multi-angle narrative that makes "Removing the Three Evils Around the World" an excellent work that can withstand repeated viewing and in-depth interpretation. It not only satisfies the audience's demand for entertainment, but also stimulates people's thinking about deep issues such as society and human nature.
In film and television performance, realism is often the key to distinguishing a good actor from a mediocre actor. This is especially evident in the lunch box scene. Many actors often fall into the mistake of acting when faced with such seemingly simple daily scenes.
Some actors pay too much attention to their image, for fear of looking ugly and contrived. For example, Liu Tao's lunch box scene in a certain work exposes this problem. Although she grasped the details of the chopsticks tied to the lunch box very well, because the chewing action was too stiff and exaggerated, it dissipated the life texture of the scene and increased the sense of posing for acting.
Nine, there are also some actors who are completely immersed in the action of "eating", ignoring the emotional expression of the characters. They really put all their minds on eating boxed lunches, without any emotion, and rely on background music to set off the atmosphere.
This way of acting, while real, lacks layering and emotional depth. What's more, some actors go to the other extreme, and exaggerated expressions and movements only destroy the realism of the scene.
For example, some actors count three or five grains of rice and send them to their mouths, and the traces of posing for performances are obvious. These problems are common in many film and television works, and have become a "fig leaf" for many actors.
In contrast, Ruan Jingtian's performance in "Removing the Three Evils in the Week" can be called textbook-level. His lunch box scene not only moves naturally and smoothly, but also conveys the complex psychology of the character at the same time.
Ten, whether it is the gobbling at the beginning or the chewing and slow swallowing at the end, it all shows Chen Guilin's inner world just right. This grasp of realism is the key to the success of Ruan Jingtian's acting skills.
His performance makes the audience feel that this is not an actor "acting", but the character himself is living in real life. This kind of immersive performance is the magic weapon that really impresses the audience.
As the film critic said, don't look at the boxed lunch and eat it every day, the knowledge in it is as deep as the sea. Whether you can grasp this sense of realism often becomes an important criterion for measuring an actor's skills.