In June, the dog blood drama "Penthouse 3" was launched with the flower cavity soprano "The Flame of Vengeance Burning in My Heart", and as soon as this illogical but top-catching Korean drama returned, it was hilarious to mention several hot searches (such as "Qian Ruizhen is miserable and funny"), and the characters and audiences also opened the full-staff crazy mode again.
But on dog blood, in front of Thai drama, Korean drama will always be a younger brother.
In recent years, there has been a "millionaire bastard son bloody revenge history" of "Iron Heart 2019"
After the "transgender beauty returned home and fell into pure love", "Blowing Leaves"
Not to mention the "Listener Calls" miniseries series "Friday Club", co-produced by Thailand's A-TIME and GTH, in the various loves based on real events such as "Complex Love" (two men and one woman competing for the same man), "Nobody Knows Love" (husband and wife each have same-sex lovers), "Love Across the Line" (mother-in-law and daughter-in-law love), etc., shocked the audience
Rao is such a bizarre plot, and the dog blood of Thai drama is not untraceable, which can be summed up as:
Men the base, women tear up, slaps that can't be finished, teardrops that can't be dried.
No, the author with his own "strange drama radar" once again dug up a Thai ethics drama "House of Iniquity" that only 113 people have marked to watch (Douban)!
The story begins with a supernatural event.
In 2483 A.D., 1940 A.D., a haunted mansion killed five people in a row—two bandits, a wizard, and a rich couple.
The son of this rich couple, in order to explore the mystery of his parents' death, despite persuasion to enter the ghost house alone, but saw that the ghost house was brightly lit and the hostess was immersed in flower art. Suddenly, the ghost house was revealed, forcing the son of the rich man into the river.
The lady of the haunted house says "I want to take you back to the past", and the time is back to 1920 AD, and a drama of enmity and hatred confined to a mansion begins!
From mansion to haunted house, what happened in those 20 years?
In a word -
The story of a rich and powerful man torn between his two wives and two same-sex lovers.
At first glance, strange, chaotic, and detailed tasting can be described as the culmination of various types of Thai opera, there is a very realistic part, "the sorrow of the same wife", there is no lack of "whisperers" keen on the research topic "young master and servant cultivation", more full of the most common conventional Thai drama of the female and female two "phoenix & pheasant" dispute, and all of this "stew" together, constitute a specimen of "limited space drama creation".
In essence, "Penthouse" and "House of Evil" are the same mode of playwriting, a "limited space drama" between "extreme space" and "infinite space".
"Extreme space" is often made into movies, such as "Sniper Phone Booth" in 2002 and "Buried Alive" in 2010.
"Infinite space" has no restrictions on space and time, the characters and the story are its "space", the audience's mind will have no destination for the place, and here in the audience and the screenwriter, the characters do not have to return to a specific and fixed place.
And there is a building in "The Penthouse", there is a house in "The House of Iniquity", and all the main characters must love each other in this building, in this house, hurt, calculate, ally, they don't have to suffocate as they are in a telephone booth or a coffin, but their emotions must fill this limited space.
In this limited space, the fewer characters, the more extreme the dramatic creation. Of the same length and similar volume, the fewer characters will assume more identities, because the basis of relationships is identity, and relationships can be the source of dramatic conflict.
The main characters in "The Penthouse" (excluding the people outside Hera's palace), a total of 15 people, but the main characters in "The House of Iniquity" are only 9 people, a lord, a wife and a concubine, three male servants, three maids, "The House of Evil" has a total of 28 episodes, about four-fifths of the first two seasons of "The Penthouse", so everyone's identity, relationship, and secret are richer and stronger than the characters of "Penthouse".
For example, male servant Virtue also bears the identities of male servant, sir's lover, sir's wife's lover, borrowed pregnancy tools, male servant Sheng's love enemy, maid feng's favorite object, etc., but God knows, with so many "filthy" identities, in the play, it is a person who is so innocent, sentient, and grateful, it is really difficult for him to write a screenplay!
Therefore, the dog blood of "Evil House" wants people to say "tear-resistant" more than "Penthouse".
The dog blood level is 2.0, but "The House of Sins" has not lost its logic.
As we all know, "The Penthouse" is a series of logic that runs wild outside Hera's palace, and the screenwriter Shunyu, who has repeatedly written "Stand-in Doubts" and "Medical Miracles", the only "Logic Man Officer" may not have resurrected Min Xueya (but who knows).
For example, at the end of the first season, Zhou Dantai, who is constantly killing people but never killing anyone, must kill people again, but Xiulian, who is at the top of the audience rankings, must not die, what to do?
Shunyu's answer is: twins go a wave! It has to be said that in the construction and conflict of dramatic characters, "twins" are always easy to use, so in the third season, twins have begun to appear human-to-human phenomenon, but the more useful the human setting, the more difficult it is to withstand the logic of details.
The screenwriter of "Evil House" is like "Shunyu who finally stopped drinking fake wine and jumped on the wild", the dream of dog blood is still there, but the next pen is more sober. At first glance, the show is big and big, but the details are full of logical "punctuation".
For example, Lord Weishan (Played by Wittaya Vasug) follows the rules on the wedding night, feeds the bride Marais (Savika Chayad) to drink kapok tea mixed with sleeping pills, Marais goes to sleep, Sir takes a soft step, goes around the courtyard, goes upstairs, pushes open a stained glass door, the door closes, three months later, breakfast, the maid comes to report, the kapok is used up, and the lord is furious.
Kapok and glass doors are two "punctuation".
Around these two "punctuation", see what "shock your whole family" plot the screenwriter wrote before and after the "punctuation":
The next time the glass door is pushed open, the audience knows that this dark room is inhabited by the maid De (Anouva Dzongche Dratana), the lord pushed the door into the face with a smile, this smile proves that the room is a welcoming atmosphere, the wedding night of the lonely man and widow in the room, always not necessarily to study the script, and this habit of life lasts for three months, kapok is "hollowed out" during these three months, a little imagination, you know how "sinful" this mansion really is.
However, the drama line to this point, only gave a kapok and a glass door, no wonder the Thai drama used to "bu ruan gan dao bei ni..." (18 forbidden title tips), this time surprisingly "rated as all ages can watch", the screenwriter has to rely on Hemingway's "iceberg theory", vividly expanded the ratings group.
Flowers and doors mark the lord's secret sexuality and excessive sexual desire, however, this is only the truth of the lord's body, the truth of his spirit, by what is it to mark?
The answer: a ruby ring.
The gems on this ring are bright and dazzling, and they are valuable at first glance, and the lord has never taken it off, which is also common, but when the knight was young, his beloved man was beaten half to death by the father of the lord, who embraced the bloody body and vowed to sever ties with the family and live a dull life together.
This is a scene of pure love mixed with dust and blood, but the ruby ring on the lord's finger overshadows the superficial affection of this scene, as a rich reality, it stimulates everyone's eyes - it marks the soul of the lord:
This is a man who cannot give up his wealth for love and conscience.
Therefore, the magic act of forcing his wife to have a relationship with a male servant in order to obtain an heir has a logical smooth and even silky point: if the heir cannot be extended, the father of the sir will donate all the wealth to the temple (it can also be seen here that Thailand is indeed a deep-rooted Buddhist country), so will the ruby ring be picked sooner or later?
The affection of the youth, the love of today, in fact, there is no difference between growth or not, reality or not, a ring, enough to prove that the character of the lord is unified from beginning to end.
In addition to kapok, glass doors, and red rings, the more logical abundance in "The House of Iniquity" is still people.
No matter what kind of closed world, the nature of human beings and related to dignity cannot be swayed by any dignity, love and hate. This is the preciousness of man, but also the danger of man. Therefore, it is very difficult for the sir to break through the spiritual defense line of the male servant and his wife on the "surrogacy matter".
The maid De Shang is quite simple, after all, between the lord and the de, there has been a very solid relationship between the lord and the de, as long as the lord Ishui and the charity, the de can not resist, of course, a decisive secret reason is that de has a secret feeling when he first met the wife of the lord, Marais.
Marais, who also came from an aristocratic background and had no emotional history, was not so easy to be breached. The process of Sir's attack on Marais's heart can be called a "scumbag textbook", which is not only hierarchical and logical, but also skilled in acting and outstanding in detail.
The first step, love, the second step, lying and infertility, the third step, confiding needs, the fourth step, stalking, the fifth step is desperate, let his male prostitute lover find someone to adjust a pair of poison, eat it to make himself terminally ill, called the ceiling of bitter meat, and the sixth step is a loud threat.
Finally, Marais's dignity broke through the defenses.
Kankan laid out as many as six steps, which shows the patience of the screenwriter.
Patience is the best friend of logic. If the screenwriter loses patience, logical loopholes follow. When writing this plot, although it is still in a state of grasping horses, it can be fully felt that the screenwriter is carefully studying the character of Marais, the "noble lady", and based on this research, extracting the core factors that make her mentally collapse, such as "love" and "sympathy".
It can be seen that "The House of Evil" is promoting narrative logic with emotional logic, in layman's terms, that is, what kind of people do what kind of things, and Sir Ye is the most emotionally torn and complex person in the whole series. This is because wealth and nature never cease to clash in his destiny, and he always wants wealth and nature to be unified in his destiny.
This complexity, even if it is still true a hundred years later, only need to replace "wealth" with other factors such as "family", "friendship", "work", "self-identity" and so on, because the century-old years have not expanded enough social identity space for sexual minorities.
When Marais and De finally had a relationship as Grandpa had hoped, Grandpa Marais, who loved Tak and was deeply loved by Marais, couldn't help but spy outside the door.
When De touched Marais's tears, De stopped, at this time, the lord whispered to himself, and concentrated the tears in his fate:
- De, I certainly didn't misread you.
But then, when will Marais be able to conceive?
As he had previously told De:
Importantly, I can't love another child, but if it's your child, I'm sure I can raise that child.
You taste, you taste!
What about Marais and De after they have children? Surely the Lord will no longer allow de and Marais to have a relationship, and Marais will be left in a situation of asexuality and lovelessness for the rest of his life.
It can be seen that when women are reduced to reproductive tools because of men's pursuit of self-interest, this is a cruel harm to women!
Thais have always been honest in filming dramas, and few Thai dramas are willing to be subtle and restrained in terms of personality and emotions - homosexuals can never sleep with the same sex, men and women hate vinegar and slap their hair and kick their stomachs, and if they want to love, they kiss even if it is a slap and a kiss...
Therefore, Thai drama will look like a dog blood to the extreme, but because of this, the human problems it wants to expose will be so explicit, bizarre, explicit to funny, bizarre to almost "mentally retarded".
The most bizarre thing about "The House of Iniquity" is the "extreme of sex education" (this drama is mainly self-education).
Sir Ye is the most scummy in the whole play, but his attitude towards sex may be the most normal in the whole play. Because he is fully aware that "sex is a pleasure", a person should have complete dominance over his own sex.
The male servant De, who had been saved by the lord, repaid his kindness with his body, but as he grew older, he showed a state of active aggression and disapproval of the relationship with the lord, as if suffering from "Stockholm syndrome of sex".
Sir's two wives are more representative of the two extremes of educational imbalance.
Marais is a saintly daughter who has never been employed, and her mind is still in the obscure stage of "fertility without physical contact", and Sir Limpe's other wife, Lin Pei, is like a slut, repeatedly using aphrodisiacs to force Sir to have sex, but she has never succeeded - in the end, Marais and Lin Pei present a very strange and laughable scene in the play -
Two women who have never had sex with their husbands are discussing "why aren't they pregnant yet" with their friends or servants every day!
All along, sex education is considered to have to take into account science and morality, "saints" do not understand science, "sluts" disregard morality, therefore, it should find an ideal balance between "holy women" and "sluts", but the actual situation is often that this matter no one will teach you, when you do not do right, people either think that you do not understand anything like "holy women", or think that you know too much like "sluts".
It just so happens that the main women in "The House" are not in this usual balance, which is somewhat surprising even in 1920!
In his 1930 novel In Search of Pleasure, Maugham's idea of completely separating "sex" from "morality" by comparing the heroine Rosie to "a clear waterhole in the forest" was already a rather pioneering and shocking view, and although some people must agree with both hands, few people dared to recommend the act as "the mainstream of sex".
In mainstream thinking, sex and morality are inseparable, just as sex and fertility are linked. With such a recognition, look at a seemingly inconspicuous plot in "The House of Sins" -
The lord told Marais that he was infertile, and Marais's first reaction was that it didn't matter, he could not have children, the lord did not have to inherit the property, the two could open a food store, and henceforth live a life of a plain couple.
A hundred years ago in Thailand, such a kind woman, between sex, fertility, and morality, did not hesitate to choose morality, and then returned to the beginning of the series, it is this woman, who has become a fierce ghost in the "evil house" who blocks the killing and the road to kill, although the follow-up plot is unknown, but only this yin and yang correspondence between good and fierce is enough to make people taste.
As a result, this Thai ethics drama, which seems to be the sum of "Frost Flower Shop" (South Korea) and "My Husband's Lover" (Philippines), is strange and suffocating, and deserves to be brushed by more people.
Author: Xian Hao