Wen 丨 yue curtain, author 丨 bob
A clear-headed director and a film that is "not clear".
Zhang Yibai's interview before the release of "Burning Wild Boy's Sky" can actually see that this is a clear-headed director. He knows the market risks faced by song and dance films in the domestic market, and he also knows the industrial pressure that song and dance films must bear.
In the current film market, any innovation is bound to face great pressure and huge risks. However, the calm understanding of the genre by the main creative team does not mean that it is necessary to "calmly" produce satisfactory works. While type innovation is encouraging, it does not allow "innovation is not easy" to cover all the reasons for failure.
The reason why "Burning Wild Boy's Sky" fell into today's word-of-mouth quagmire is because of "quality" rather than "type". It is true that the development of the domestic film industry is not mature, but in addition to the low degree of general acceptance by the audience, the problems within the industry are more serious. Although Zhang Yibai has pointed out the problem in many previous interviews, it does not mean that the problem is solved. Lack of logic and excessive exaggeration, this is not the problem of song and dance films, this is the problem of movies.
In addition, for a film with a drama aura, although the creators want to produce a film with obvious distinctions, the audience cannot cut the bond between the two. Without a long period of time to establish a basic trust with the audience, the excessive "changes" of the film will inevitably disappoint the audience who come to admire.
In terms of the most fundamental score, "The Sky of burning wild boys" only opened a Douban score for four days. And the "weird" performance of the number of short comments is puzzling.
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1. "Opening score" and scoring
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Bad reviews aren't terrible.
Innovation itself implies risk, and risk itself contains "bad reviews". But it is actually very necessary to look for the reasons for the bad reviews from the "bad reviews" of each film. Therefore, for the industry, "bad reviews" are often not the most important criterion for evaluating the quality of a film.
For "Burning Wild Boy's Sky", the bad reviews are not unexpected. The audience's relatively harsh requirements for song and dance films and the audience's direct appeal to "Burning Wild Boy's Sky" were to some extent inconsistent before the release.
Song and dance films lack sufficient market soil in China, and the audience lacks a certain preparation for the relatively exaggerated way of song and dance films. In particular, "singing when you don't agree, and dancing when you don't agree" actually has physiological boredom. Therefore, it is extremely difficult to win the favor of the current market audience with a song and dance film.
But at the same time, "The Sky of the Wind Dog Boy" received a high score of 8.1 points from Douban after it began broadcasting in September last year. Less than a year after the film was released, the emotional bond that the audience has established in the series cannot be cut off. Unlike the creator, who doesn't want to repeat himself, the audience who first "transferred" to the movie through the series may not want to re-accept a story that subverts their own cognition, let alone a song and dance film.
In terms of cognition, the creator and the audience have obvious misalignment at the beginning. Therefore, it is not surprising that the "bad reviews" after the release. But under the bad reviews, the film's opening journey was unusually difficult.
The Douban score did not have a difficult 4.5 score until the fourth day of the movie's release, but before this, the "rating doubt" of the movie has puzzled many people. On the first day of release, the proportion of films on the first day of release reached 26.5%, ranking second in the entire market on the same day, second only to "Chinese Doctor" with 28.3%. Although the next day, the gap between the schedule of "Burning Wild Boy's Sky" and "Chinese Doctor" increased, it has been firmly in second place. It is such a movie that occupies an absolute advantage in the scheduling, and in the case of the Douban score, the number of short reviews has "decreased".
The number of short reviews for the movie at 5 p.m. on July 17 was 311, and the number of short reviews for the movie at 10 a.m. on July 18 was 261. The number of short comments is "catty", in fact, makes many people very confused. But this problem is actually not difficult to understand, but while facing the risk of innovation, there are problems in scoring, which is certainly not the best way to cultivate the market and cultivate audiences.
2. Must domestic song and dance films break through?
Cannot be typed "kidnapped".
Before the release of "Burning Wild", people who actually knew a little about song and dance films knew what kind of market domestic song and dance films needed to face. In an interview, Zhang Yibai also expressed why he wanted to make a song and dance film.
In general, Zhang Yibai hopes to shoot a song and dance film. The first is his own main reason, thinking that every director has a dream of a martial arts film or a song and dance film, and from the MV to the movie, Zhang Yibai hopes to shoot a song and dance film for his own reasons. The second is the external factor of the industry, Chinese song and dance films are very rare, and it is hoped that a song and dance film will be produced to cultivate the market and eventually strengthen this genre.
From the perspective of the original intention, Zhang Yibai's adventure and attempt are worthy of admiration. Especially in the entire industry, when the development of types is becoming more and more single, it is indeed worth encouraging to dare to take risks to explore type innovation under pressure. But from a results perspective, the intent may not be that important. Because no one will lower the standard because "Burning Wild" is a song and dance film, nor will it be because "Burning Wild" is full of expectations for the development of Chinese song and dance films.
And from the perspective of Chinese song and dance films themselves, whether they can break through is also a topic that is difficult to see the results. Although Hollywood and Indian song and dance films have relatively mature development cases, this success does not have too many genes that can be copied.
For example, the development of song and dance films in India is a history that cannot be copied at all. The initial development of Indian song and dance films was that song and dance were only as "halftime performances", because the initial audience of Indian films was migrant men and the general level of education was low. Therefore, in order to attract the audience, Indian films interspersed the "song and dance intermission" in the movie. But it was later discovered that the audience could only be attracted during intermission, so in the subsequent development, the song and dance were constantly interspersed throughout the film to "lock" the audience in seats.
With the continuous improvement of industrialization in Bollywood, song and dance films have developed to such a state with their own national characteristics, song and dance and narrative.
However, domestic song and dance films cannot match the same industrial environment, so there is basically no possibility of producing a "phenomenon-level" work. Therefore, if a song and dance film wants to gain market recognition, whether it needs to rely on the continuous cultivation of one failed work after another or continue to wait for a "phenomenon-level" work to drive the market is actually a difficult answer.
3. Is the core question type?
Song and dance films, the most emblematic of the standard is not song and dance.
In Zhang Yibai's view, the most emblematic standard of song and dance films is song and dance. So whether it's music or choreography, it takes a lot of effort. However, in order to fit the "ordinary people" in the movie, it is only changed to be good at dancing to not dancing, and the level of dancing is up and down to the level of an ordinary person. But this is not an essential problem at all, and the most important thing about song and dance films is actually still the narrative.
As the most successful song and dance film in the first two years, the root of the success of "City of Philharmonic" lies in the fact that song and dance have become the most suitable way to convey the "emotions" of love. And in a love story that is "cheesy" in itself, the form of song and dance adds a little novelty to the film. Similarly, 2000 Danish director Russ von Trier's Dancer in the Dark is also a song and dance film, which won the Palme d'Or at the Cannes International Film Festival and gave Icelandic musician Björk best actress.
Similarly, in this critically acclaimed song and dance film, Russ von Trier accuses humanity and society through the experience of a Czech immigrant working in the United States.
In fact, in any high-quality song and dance film, the narrative is the most basic and core place. Song and dance are indeed important, but the form of expression cannot be generalized with the narrative method, but from Zhang Yibai's interview, song and dance is still the axis that the current domestic creators are most eager to challenge, and believe that the quality of song and dance is the core of the standard of song and dance films.
To this end, although Zhang Yibai hopes that the protagonist in the film will dance less brilliantly and remove the "showmanship". But the lack of narrative and logic makes the audience feel completely inverted.
The complaining about the content itself is extremely deadly. In a story that is already secondary two, the form of the song and dance film is extremely exaggerated, coupled with the lack of narrative preparation in order to match the song and dance, this kind of production defect is doomed to fail to satisfy any audience.
But from the genre to the narrative, from the interview Zhang Yibai accepted, you can see some "hats". When referring to the genre of song and dance films, Zhang Yibai said, "If you don't do it, you will never know whether the market needs it or not." To know how much demand there is in the market, there is always someone who takes the risk of doing it, because there won't be crowds of spectators calling on you to do it. Once it is to be done, it must be done according to the laws of the song and dance film itself and the uniqueness of its expression, which is beyond the experience accumulated by other films. He said, "I hope to make a start, so that more people can participate, there are films that have made money and losses, there are failures and successes, and they will be slowly popularized for everyone, so that song and dance films will gradually become a new genre that everyone likes in Chinese movies." ”
Then the "known deficiency" of song and dance not being able to participate in the narrative was not solved, and this problem that existed before participation persisted after the release.
When Zhang Yibai was interviewed by the People's Daily to interpret this story, he also put a big "hat" on the story, believing that this is a "post-00s" story, hoping to convey the spirit of a new generation of Chinese young people who have ideals and dreams, and dare to realize their dreams regardless of fame and fortune, do not talk about winning or losing.
The story of the post-00s naturally has the expression of the post-00s and even the language of the post-00s, which is the "cultural code" of a generation. But this also does not explain the characters' logical loopholes and narrative shortcomings.
Compared with the reputation of ordinary audiences voting with their feet, the industry often overly "dotes" on innovation. Genre innovation naturally requires the accumulation of one failed work after another, but coddling can never be exchanged for success, and only by constantly summarizing experience and solving problems can we get close to the light.