On May 31, the online movie "Wu Zhuangyuan Su Qi'er's Heavenly Descending Oracle" iQiyi Online Movie Channel was officially launched. The film starred young actor Peng Yuyu. And this new film, in terms of character arrangement and story design, carries the shadow of the 1992 version of "Wu Zhuangyuan Su Qi'er". It can be said that Peng Yuyu's version of "Su Qi'er" is a comprehensive fatality to Zhou Xingchi's classic version of "Su Qi'er". However, after watching the whole film, fans should feel that this kind of tribute is really a bit of an effect.
Zhou Xingchi's version of "Su Qi'er", although there are also funny and even farce and laughter components, the core emotion of this work is the counterattack of small people, which is a typical art style of Zhou Xingchi's films, and the absurdity of life in a postmodern state. Therefore, Zhou's works are still willing to stand on the ground and narrate, willing to present the real content ecology that creates human suffering. This is also the fundamental reason why Zhou's early films can be recognized by fans.
In contrast, Peng Yuyu's "Wu Zhuangyuan Su Qi'er", it does deliberately learn the classic configuration of Zhou Xingchi and Wu Mengda in the arrangement of male protagonist and male support, and it is indeed the follow-up story content of Zhou Xingchi's version. It can even be said that Peng Yuyu deliberately learned Zhou Xingchi's early performance style in many bridge sections. However, the most important content of the early style of Chow's comedy, Peng Yuyu's version, was not learned.
What's the content? It is a strong underlying style, especially the desolate feeling of small people. In Peng Yuyu's version, Su Qi'er was already a well-known gang leader in the world, and he was a high-ranking person who could do things peacefully on the street. In Peng Yu's version, there is also a lack of basic human fireworks. To put it bluntly, fans cannot see the pain of life from this version, and they cannot see the effective state of life. It can only have it, but it is already high above and the lights are just red and green.
Therefore, in Peng Yuyu's version, the male protagonist took the male partner to Yihong Courtyard to "investigate the case", which was really stenchy. In Zhou Xingchi's early comedies, he also liked to appear in the content of Yihong Courtyard, but these contents have a common background, either the background color of the male protagonist's humble origin, or the "lost women" of Yihong Courtyard who can't help but sell their lives and so on. However, in Peng Yuyu's version, this background color is all gone, and only the female color is left to joke. This pure physiological form of fun directly lowers the connotation of the work.
This is the typical painting of dragons and tigers. That is what we often say in the idiom, Dong Shi Gong Yi. Peng Yuyu's version of "Su Qi'er" did learn some of the fur in Zhou Xingchi's version, but lost all the real dry goods. In this new version of "Su Qi'er", fans cannot see the content about fate, and they cannot achieve empathy with the male protagonist. If there is anything surprising about this new version, it is only the content of the fight, which is really much more "amazing" than Zhou Xingchi's version.
However, this kind of "stunning" cannot bring real bonus points to the work. In Peng Yuyu's version, the big villain to deal with can actually achieve super transformation, just like the mutant chimpanzee. This kind of picture of the little male protagonist playing the big chimpanzee seems wonderful, but in fact, the underlying temperature of the entire work is lost. Instead, the film places itself on a fantasy-like work. In online film works, it is often a one-line belief that as long as the fight is a little more exciting and the special effects are sufficient, it can satisfy the audience. As everyone knows, there is a classic version of the comparison, not to make a fuss about the content, only in the special effects to make a difference, easy to dog tail mink.
The biggest problem with Peng Yu's version is that the story cannot be justified. The beginning of this film is that strange things often happen in Beijing, and some people often go crazy and so on. And the emperor also suffered from diseases such as heartlessness. Su Qi'er began to investigate the case. At this time, the big villain did not hide, but directly looked for Su Qi'er and disguised himself as an old and good man. Moreover, the most interesting slot point appeared, the main villain turned out to be a "sect leader", with a group of congregations.
Later, it was the main villain who confused the emperor and framed Su Qi'er. In the end, it was Su Qi'er who practiced another divine skill, and then protected the emperor who killed his entire family and eliminated the main villain. The most nonsense thing in this version is that the emperor can be deceived by a sect leader. A little reading of the history of the Qing Dynasty makes it very clear that all the emperors of the Qing Dynasty were very wary of the congregation. Especially in the film, the kind of white lotus like dress. There was a Qing dynasty that strangled the White Lotus Sect for nearly a hundred years. Such a sect leader appeared and confused the emperor? I have long been caught by one of them.
Most of the screenwriters of early Hong Kong films were readers. Therefore, although the content written out has a joke about history, it is not a hard wound. And Peng Yuyu's version of "Su Qi'er", it can even be said that the screenwriter does not read history, and the basic common sense of Qing Dynasty history is not known. This is an irresponsible screenwriter's attitude, or not. (Text/Ma Qingyun)