The worry is still coming.
Look at this lineup:
Original zhang Ailing, director Xu Anhua, screenwriter Wang Anyi, director of photography Du Kefeng, soundtrack Ryuichi Sakamoto, costume director Anda Emi.
Picking out a single person to say can be a must-see reason.
Top-level configuration, how does it look?
Everyone vaguely felt that something was wrong...
Casting: It is recommended that the original team shoot the sequel "First Furnace Steel".
Trailer: "XiBao" + "Predecessor 3"?
The pigeons quarreled for two years and two years, and it was finally released.
Zhang Fans wanted to shed tears after reading it, Saddle Fans were very silent after reading it, and passers-by read it:
Why did I choose this film?
"The First Incense"
01
Douban 5.6, the lowest of Xu Anhua's works.
There is no need to avoid it, the famous director also has a misstep, and after encountering a gap, we should be more clear:
Under the aura of "The First Incense", what happened to it?
Let's start with the story:
In 1937, the August 13 Incident caused Shanghai to fall.
The heroine, Ge Weilong (Ma Sichun), a "very ordinary Shanghai girl", took refuge in Hong Kong with her family.
Because they could not make enough money, their families had to run back to Shanghai in ashes.
But Ge Weilong had his own calculations.
She wants to finish her studies in Hong Kong and is even more curious about this thriving and fresh big city.
So, she thought of her aunt Mrs. Liang (Yu Feihong).
Who is Mrs. Leung?
The young man took aim at a wealthy Hong Kong businessman and was a mistress for more than ten years, so he broke up with his family.
When the rich merchant died, he inherited the mansion in the middle of the mountain, and it was in this house that was not in the middle, and the house in the west was happy every day.
West, referring to the architectural style and daily activities of the mansion, is all British.
In the middle, it refers to the legacy of the mansion, and even the Qing Dynasty's set - the hierarchy is strict, with a pair of servants and servants, wearing a cheongsam and a large braid.
Zhang Ailing's evaluation of this paragraph is: The China here is the China in the minds of Westerners, absurd, exquisite, and funny.
In such a strange environment, twisted relationships breed.
In an interview at the Venice Film Festival last year, Xu Anhua said:
Hong Kong is such a place, sandwiched between different worlds. Naturally, the characters of the novel should also reflect this deep-seated uneasiness.
The visible environment is extremely important to this story.
But this is another big puzzle given by the movie:
Aunt, a Shanghainese who has lived in Hong Kong for nearly twenty years, speaks with a Beijing flavor; Qiao Qiqiao, a mixed-race child who grew up in Hong Kong, should have spoken English or Cantonese, and actually speaks standard Mandarin; Fan Wei played by a rich businessman in Chaoshan, who has no Chaoshan accent at all; and Zhang Junning's Guan'er, a crisp and lovely Taiwanese accent, with vernacular Lines and a long big braid, is simply a kind of Taiwanese ancient puppet drama.
Even Liang Luoshi, the mixed-race child playing the mixed-race child, is a seamless fit, you can soar Portuguese, English, Cantonese, the result of the whole process can only be cautious and cautious to speak Mandarin, biting words difficult, directly achieved 0.5 times the speed of speech.
The irrevocable language emphaticizes the story.
Wang Anyi said: Xu Dao's original idea was that everyone said their own words, and the language was a hodgepodge, and there were also Shanghainese, Shantouese, English, and Portuguese, but it was difficult to achieve.
The difficulty is objectivity.
But giving up is also a pity.
Ang Lee made Color, Ring, and used six languages —Chinese, Japanese, English, Hindi, Shanghainese, and Cantonese.
"Color, Ring" can also be said to be the most successful adaptation of Zhang Ailing's novel.
Coincidence?
Zhang Ailing's text is notoriously thin, and adaptation is also notoriously difficult.
But since it is difficult, it is only necessary to use solid materials and work hard.
"The First Incense" makes people see that the power is not enough. (It has to do with the director's energy, the right to speak in this project, and the financial situation)
02
Sir's most intuitive feeling about "The First Burning Incense" is out of control.
The director doesn't seem to be able to check every link.
Naturally, there is no guarantee of an end result.
For example, the casting problem that was complained about, netizens have seen the sense of violation, will Xu Anhua not know?
But she still had to use it.
From the moment the characters appear, the whole story can only be wrong.
Ma Sichun played Ge Weilong... Let's watch the original for ourselves and feel it.
Her face was plain and beautiful little convex, and now, this kind of "puff face" is outdated. Her eyes were long and beautiful, and the deep marks on her eyelids swept straight into her sideburns. Slender nose, small fat mouth. Perhaps her facial expression is slightly lacking, but only because of this sluggishness, it shows the gentle and thick ancient Chinese atmosphere.
Keywords: long and charming eyes, ancient Chinese mood.
And Ma Sichun seems to think that his eyes are not round enough, whether happy or aggrieved, it is all eyes and pouts.
Pretending to be innocent, her eyes flickering, afraid that the audience will not see her girlish heart.
A sentence from Douban netizens is really insightful:
"Full of breath, weathered by wind and frost, shiny, the first time you meet a fitness coach who seems to have a deep heart, when you wear suspender pants to pour wine, you are alive to celebrate your birthday haidilao employees."
It is not that netizens are mean, you can see from the description of the novel, Peng Yuyan no matter how hard he tries, he can't act out!
The temper is a bit gloomy, with a bit of a.
Even the lips were pale, like plaster... Man is tall and well born, but his clothes are so obedient and casual that people forget the existence of his body. Compared with him, Lu Zhaolin looked much more stupid.
Come, you glance at Lu Zhaolin twice, see who is thicker?
Look at your aunt Mrs. Liang again.
You know, this is a "Empress Dowager Cixi who closed the door to engage in the legacy of the Qing Dynasty."
That is, use the young men under his command to bait rich old men, and then take money to raise "little white faces". (For example, Ge Weilong's classmate Lu Zhaolin is one of the prey of his aunt)
It's just that you see Yu Feihong's sexual charm that overflows the screen: the eyes are provocative, the figure is hot, and the skin is delicate.
You really can't figure out why she went to great lengths to set up a "brothel" at home, at least without the help of Ma Sichun, right?
Some people say that the adaptation does not have to be limited to the original.
But the performance of each character cannot explain their motivation in the movie.
In the first stage of Ge Weilong, Ma Sichun basically gave the silly white sweetness of not eating human fireworks.
Screenwriter Wang Anyi also said: I found that she (Ma Sichun) acted too simple, in fact, Ge Weilong is a very sophisticated person, this girl has a plan for her life.
Georgie Qiao, played by Peng Yuyan, also has this sense of separation.
You know, Zhang Ailing's people have always been layered.
There are a lot of scenes and words, and the most careful thoughts.
But when peng Yuyan came here, he evolved this duality into the rhythm of robot mode switching.
For example, hooking up with a girl, it looks very sexy, a look of big and little heart.
One moment in Portuguese prose poetry, the next moment biting off the flower on the head of the beard.
And when it comes to not doing business properly, wanting to eat soft rice, it becomes very strange.
Dad wants to throw away his snake, one second, still trying to fight, the eyes are emitting fierceness, the next second is milky: Dad ~ ~ ~ don't want it ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
I don't want Ge Weilong to discuss business with Chaoshan Fu, but in the last second, he still showed a bit of manhood: I don't allow you to go! The next second, I began to play with the macho man again: Ah ~ ~ ~ I don't want you to go ~ ~ ~ ~ ~
Although Georgie Qiao is not in the right business, he is a rich man's son, but he is not a small milk dog in an idol drama.
Also playing the fragile and fragile noble prince, also based on the role of Georgie Joe, Zhang Guorong in the old Hong Kong drama "Nong Ben Amorous" is much more professional
Eyes drooped, brows relaxed, lips closed.
And Peng Yuyan, I don't know if it is the scene with Ma Sichun's pout frowning and glaring at the three-piece set.
03
The crotch of the acting should not carry all the pots.
It is the intention of the film, which has been misplaced with Zhang Ailing from the beginning, and eventually drifted away.
You see a generalization on the poster for the movie – "Love but not".
However, "The First Incense" has never been a story that cannot be loved.
Although Zhang Ailing laughed at herself, she "only writes about small things between men and women."
But what she was pointing to was never love.
Her love is full of impurity, but because it is not pure, it is more like the most real silhouette in the era of continuous war and value collapse.
Zhang Ailing wrote "The First Burning Incense", which has a key core:
The old stuff is crumbling, the new is growing.
This is an incomplete era, so every ordinary little person is also incomplete.
Incompleteness is bound to breed tragedy.
Ge Weilong's body is full of new feminine colors.
She has a sophistication and maturity beyond her age, and also has unspeakable desires and calculations.
Sophistication and maturity, as mentioned earlier.
Desire and calculation are reflected in Ge Weilong's decision to marry Qiao Qiqiao, in the form of social flowers, to bear the psychological changes of the "economic pillar" in the family.
Two important images: snakes and paperweights.
In the novel, Ge Weilong first came to his aunt's house, saw the gorgeous and exquisite mansion in Hong Kong for the first time, saw a green potted plant, spitting out red buds, and imagined them as snakes; in contrast, Georgie Joe in the novel was extremely afraid of snakes.
Two details that echo each other actually speak the other side of their personalities:
The prodigal son with a slippery tongue also has an unknown timidity and cowardice; the naïve Ge Weilong has a surging desire in his heart.
However, in the movie, the snake becomes Georgie Joe's pet.
It also created a scene where the two fell in love. Ge Qi Qiao took Ge Weilong to see the snake locked in the cabinet, and then there was the romance idol drama three-piece set: Ge Weilong must be frightened and lose his face, he must lean forward, and he must pounce on GeOrgie Joe...
This seemingly simple hero saves the United States, but in fact implies a message: in this relationship, Ge Weilong is in an absolute disadvantage.
The other, paperweight.
In the original work, Ge Weilong had a serious illness, confused, and remembered his childhood, parents and sisters:
"If I get sick in my hometown, the room will not be full of flowers sent by friends like this." But in her memory, more beautiful than flowers, there was a kind of glass ball, which was used for paperweight on her father's desk, and the family squeezed it for her, and the hot hand of ice. The ball was very heavy in her hand, and the thought of it reminded her of all the thick, reliable things in her life—her family..."
Since you think of home, why don't you go home and be willing to become a tool for your aunt?
For Ge Weilong.
Paperweights point to the warmth of home.
But this home will not be a home for a lifetime.
This memory made Ge Weilong quickly think of reality, reminding her: As a woman, you still need a new home.
Even if there is an unbearable and pathological state in this "home".
Ge Weilong jumped down, she wanted to control her life through this "home".
So no matter how unbearable and morbid that mansion is, it can at least give you a little protection, a little thickness, a little control over the illusion of life.
In the movie, the paperweight is still there, but the order is adjusted.
After marriage, Ge Weilong and Georgie Joe spent their honeymoon at sea, only to remember and remember their parents.
It's a symbolic shot: the paperweight is in his hand, and Ge Weilong wakes up to find himself holding all the water after the ice melts.
Different orders have completely different meanings.
Appearing after the marriage, Ge Weilong walked into the marriage with a pure yearning, and as a result, this transparent dream was shattered and turned into water.
This is love and not to be tolerated, to be betrayed by the loved ones.
Zhang Ailing, on the other hand, is more sober and resolute
From the beginning, Ge Weilong saw the illusion of love clearly.
But she still walked into a shrewd and calculating marriage with loveless self-knowledge.
Ge Weilong's choice to become a social flower is realistic and self-sufficient, not a complete surrender, but also an incomplete bravery - love, frankly, is just a straw for Ge Weilong.
And Xu Anhua still believes that love is a place where the heart yearns for and is confused.
This makes the whole story look like a youth pain literature.
The playful imagery, as well as the white houses that permeate the eerie atmosphere and are out of place with the surrounding environment, have not been accurately restored.
Those real and sensible, fishy and vivid little people have become empty symbols to express the theme of "love and not to be".
Xu Anhua needs to express a love.
Xu Anhua is also in love with Zhang Ailing.
But when she asked Zhang Ailing for a love, this embarrassment and emptiness may be the most lamentable unrequited love story.
The picture in this article comes from the network
Editorial Assistant: Dr. Qi Ai's multi-store proprietor