Liu Haocun's subtraction, Yi Qianxi's addition

Author: Dong Ming

In 2020, China's box office can exceed 20 billion, "Send You a Little Red Flower" of "a foot in the door" is indispensable, and more encouraging than the 700 million box office in the 4 days of release, is the kind of optimism of "living to die" conveyed by the film's attention to cancer patients and their families.

Anti-cancer theme as a sub-genre, domestic and foreign filmmakers have a lot of involvement, presumably director Han Yan has also seen a lot, which in the film through the mouth of Wei's father, and even he also put his famous work five years ago "Get Out!" "Tumor Jun" is also implanted in the lens, if it can continue to work hard and make a trilogy, it can also be regarded as a rare and valuable insistence in the Chinese film industry.

Compared to "Get Out!" based on real people and real events. Tumor Jun", this "Send You a Little Red Flower" has made significant progress in directing ability, script and lines, which can be seen that Han Yan is more skilled in guiding and controlling the emotions of the characters after giving up those fancy special effects. For example, Ma Xiaoyuan took Wei Yihang's "world travel" section, if he was in "Get Out! The "habits" in "Tumor Jun" and "Animal World" will inevitably add special effects flooded in various youth entertainment films, fortunately, he has restrained this time, even if the scene seems very rough and simple, but he can bear not to use the director's "visual power" to smear the audience's imagination, which is a kind of confidence.

Although "Send You a Little Red Flower" uses a large number of elements of youth films: joy and happiness, jealous misunderstandings, romantic commitments, etc., how to grasp this scale, neither sensational nor pretentious, but also in parallel with the theme of anti-cancer, it requires the creator to carefully observe the patient himself and his family and dig deeper into his heart. Also a young man with cancer, the lung cancer girl in "The Fault in the Fortunes" has to live with an oxygen cylinder every day, and the bone cancer boy has been amputated for many days and has a calf amputated. In contrast, When the disease did not recur, Ma Xiaoyuan and Wei Yihang could at least appear to be like ordinary people, except that they could not go far away, and they could still "fool around" in the city. This is not to harshly accuse the film of its treatment in this paragraph is "fake", but to lament that they, as small patients who have never really set foot on society, cherish every opportunity to "let go of themselves" in their lives, after all, for Ma Xiaoyuan, who has been a "medicine jar" since the age of 5, "living like an ordinary person" is itself a pursuit.

At the same time, for the most realistic and heavy problem of cancer families - the economic burden, "Send You a Little Red Flower" has also touched on it, but it has not been focused on rendering. The person who bears this financial pressure the most is usually not the patient, but the family members who pay silently. The thriftiness and thriftiness of the Wei family's parents, with hard work and hardship, are reflected in the film through zhu Yuanyuan's door cutting when paying for the car, and Gao Yalin secretly driving a special car to earn extra money. But compared to Tan Zhuo, who wants to dance the night dance to treat his daughter in "I am not a medicine god", they have a stable and decent job, have their own house and car, life is not easy, but there is no need to take the initiative to reveal, and the son can naturally slowly realize it when he grows up.

The scene of the family dinner is the climactic release of this "adult pressure", Wei Yihang's wordless bow is worth a thousand words, and it is the blessing of the Wei family to have such relatives, and it is also the most idealized "Chinese family" before the full coverage of medical insurance. However, looking around, the father who ate braised pork rice alone at the entrance of the hospital, the Wu Xiaoming who opened the wig shop, and the patients who shouted slogans on the roof, they may have fantasized about a "parallel time and space" without illness, but the cruelty of reality is that romance or inspiration is not enough to overcome the disease.

Ge You once said a sentence in "Not Seen, Not Scattered": "Of course money is important, without money I have no sister!" In the eyes of cancer families, money is very important, but as important as money, it is still necessary to have the courage to "get out of despair" and face the "first day of the rest of your life". In the film's "assuming that the son is not in the life of the parents" video, the old couple uses a brave way to comfort the guilty son. In ordinary days, they are full of foam, expressing the calmness of the previous generation of "looking directly at fate", which is a wonderful treatment of "anti-sensationalism", which is rare. And on the night that the camera did not capture, the Wei family's parents must have experienced pain and despair, and there would also be quarrels and blames; Papa Ma would also take off his hippie smile and sit alone in the workshop smoking a cigarette...

Remember the French movie "Declaration of War of Destiny" the year before, loving the little couple Romeo and Juliet, at all costs to raise a child with a brain tumor, under the premise of only 10% survival rate of surgery, "declare war on fate", this awe-inspiring title, suitable for all anti-cancer families around the world.

Wei Yihang is lucky, his parents are reasonable and can communicate with their sons; Ma Xiaoyuan is also lucky, she has an optimistic and free father, allowing her to grow up freely and shape her cheerful personality. If the first half of "Send You a Little Red Flower" creates a romantic comedy effect through the difference in the personalities of two young people, then the second half is more dependent on the run-in of family affection, the transformation of growth and the separation of life and death to push up emotions, and the fluency has declined, but from the perspective of the screenwriter, it will be too late to push up the emotions at this time.

Fortunately, the images of several supporting characters have become more and more plump with the plot, and the actors are also all online: Gao Yalin's back wearing a vest to eat noodles has not appeared in "Family with Children"; Zhu Yuanyuan explained to her son that "fear" is a simple encouragement of "being a mother and being rigid"; Xia Yu's unabashed sentence "The head that has been opened" is behind the pity for her daughter; even Yue Yunpeng jumped out of the expression habit of crosstalk this time and really "moved" in front of the camera.

And the performance methods of the two "post-00s" are more worth chewing together, the same is born in 2000, Liu Haocun's performance has been very relaxed from beginning to end, falling generously, without a trace of demeanor and tone, in the same age group only Zhang Zifeng can be compared; and Yi Qianxi seems to work harder, has more thinking, and even in some scenes "tight" a little tight, but this is also caused by the character setting. The boy who is in the rebellious period has a delicate psychology, both the conceit of "secondary two" and the sensitivity to the desire of the opposite sex, not to mention the name of a "terminally ill patient", which makes Yi Qianxi very inclined to perform that kind of "mourning". His parents who love him may still accommodate him, but in the eyes of Ma Xiaoyuan, an old qualified patient, this kind of primary "pretending to be cool" is really a bit naïve.

In many opponent plays, don't look at Yi Qianxi sometimes "make a fuss", sometimes "confess on a rainy night", seemingly active, in fact, Liu Hao exists "to retreat to advance", through live broadcasts, zoos, food stalls and other means to "orchestrate" the emotional development of the two, and even finally travel to a distant place, she also quietly made sacrifices. In terms of acting skills, Liu Haocun's "subtraction" relies more on talent than Yi Qianxi's "addition", and it is true that she took a step ahead, when he went to the end of the Salt Lake alone, although it was to explain the "parallel space" question and re-mention the allegory of "Lakeside Girl", but in the performance technique, it was too straightforward, and the lines also had the regret of being wordy.

Of course, as Liu Haocun and Yi Yanqianxi, who have only two big screen works, have just turned 20 years old and have such a remarkable performance, which has a promising future, and it can also be regarded as setting two lovely newcomer role models for the current vanity of the film world, both worth a small red flower. (Dong Ming)

Source: Beijing Youth Daily