"Back to 20" is back in its youth

Director: Chen Zhengdao

Writers: Lin Xiaoge / Ren Peng / Shin Dong-yi / Hong Yoon-jeong / Dong Xixuan / Huang Dong-hyuk

Starring: Yang Zishan / Gui Yalei / Chen Bailin / Lu Han / Wang Deshun

Genre: Comedy / Romance / Fantasy

Country/Region of Production: Chinese mainland / South Korea / Taiwan / Hong Kong

Language: Mandarin Chinese

Release: 2015-01-08

Runtime: 131 minutes

In fact, I was a bit surprised by this film, I didn't have much expectations before watching it, but I found that it was not bad. Giving 3 stars on Weibo is actually a bit conservative, maybe you can give 3 and a half stars. Although I mentioned this film with a bit of a bad eye, I always feel that good is good, and bad is bad. If you think it's really good after reading it, you should admit that this is a principle and has nothing to do with stars and idols.

Simply put, as an entertainment film, the story of "Return to 20" is very solid, the laughter is very careful, and the emotional drama of family affection is also very touching. At least for me, I did it with laughter and tears. An entertaining movie that made me feel comfortable watching.

Thanks to the foundation of the Korean version, this script is really solid. We must admire the ability of Korean filmmakers in the field of film in recent years. For example, the script base this time, see how people's laughter points are set. Almost every time you spit on domestic comedy, it will always be said that a good comedy should not be pretending to be crazy and selling stupid clowns, but should be transmitted through various more dramatic ways such as dislocation, misunderstanding, contrast, etc., that is, to create comedic effects through the plot, rather than actors to play disgusting. The dislocation of this film is very obvious, and after the characters return to their childhood, the image and behavior are obviously dislocated. Basically, the appearance of young people, the maturity and even toughness of old people, which also caused a lot of comedy plots. Including the laughter caused by the misunderstanding of her identity and the embarrassment (with the grandson), which are derived from the plot and are very comfortable laughs.

At the same time, this story also absorbs the laughter and tears that Korean movies are best at, opening with comedy and finally setting with intimate emotions. Maybe I have experienced too many things in the past two years, had a daughter, and sent away my relatives. For many things such as life, old age, illness and death, there is a deeper understanding. Therefore, when the plot of those family and the elderly appear in the film, there will be more feelings and it is easier to be moved. Although I don't want to admit it, this film did have a touching moment for me, and there are more than one place.

"Return to 20" has a very good foundation, and there are indeed many commendable places in the process of adaptation. What is particularly prominent is the mixed cut of the Zhu Gege, which echoes between the plots and brings comedic effects, which can also see the director's intentions. The art aspect is also very prominent, and the retro style makes the film visually attractive and beautiful.

Of course, many people still have to compare this version with "Strange Her". The disadvantage of "Return to 20" is that with "Strange Her", the perception will be preconceived. I think that even if I think that "Return to 20" is inferior to "Strange Her", it is really biased to think that "Return to 20" is a bad film. There are more good scripts that make bad stories, and "Return to 20" is obviously not, it has done a good job in localization, blurred era and sense of place. Including family clues, the film involves many contents such as family affection, mother-in-law and daughter-in-law, and elderly issues, which we can also empathize with. After all, they are all Orientals, and their emotions are connected.

The surprise of "Return to 20" comes from Yang Zishan to a certain extent. It's really a bit of a surprise, in fact, I don't particularly like Yang Zishan's previous performance, in "To Youth", she doesn't even have too much line skills. However, in "Return to 20", it is obvious that she has grown, and the whole performance is more relaxed and open. There are changes in form and tone, and growth is obvious. Even, the part of Gui Yalei is not so good, but it is yang Zishan's part, which makes people shine. Including Yang Zishan's image, it is more beautiful than before, of course, this is also inseparable from art and clothing.

As for Lu Han. I didn't know much about him, and even what Lu Han looked like was a while ago, I specifically checked it out and remembered it. However, the popularity of this film does come from him to a large extent, which is the magic of idols. In fact, in the film, Lu Han's role is not so heavy, even weaker than the Korean version. As far as the scene is concerned, the protagonist is definitely Yang Zishan, and then there is Gui Yalei, and the old master Wang Deshun is also an actor who has always been consistent and has a very good performance. Lu Han's role is probably the same as Chen Bailin's, which belongs to the secondary supporting role.

Perhaps the creators have also considered the reasons in this regard, not only relying on Lu Han to attract fans, but also dare not give this film circle newcomers too heavy a scene to bear the risk of the plot. Therefore, in fact, Lu Han does not have any passages in the film that need to show his performance ability too much (such as the performance moments that really belong to him). At the same time, the creators are very clever to let Lu Han put his performance time on the stage, and you will find that many of his plays are performed on the stage, to play guitar, to sing. This is equivalent to returning him to the field he is good at, and his performance will be easier and more natural.

Since the scene is not so heavy and the play space is not so large, it is really difficult for me to evaluate his performance (sorry). Of course, childishness is indeed a bit childish. The image is really good.

However, it is quite difficult to pay attention to Lu Han's performance very seriously. As far as I am concerned, almost every shot with Lu Han is full of cheers, screams, non-stop screen shooting, video recording, flash. It wasn't until the film was halfway through that everyone was quieter (maybe they were tired). Interestingly, at the beginning of the film, there was a group of little girls who maintained order, telling everyone not to talk and not to screen, but unfortunately, when they found that the situation was uncontrollable, they couldn't help but pull out their mobile phones.

Can understand the psychology of fans, idol debut, excited (even out of the dragon label has begun to exclaim, it is estimated that the radio and television also found out so popular for the first time)! However, this will really affect the viewing experience. It's a movie, not a concert.

So, if you want to watch this movie and you are a non-fan, it is best to watch it in a few days, and wait until this fan fever has passed. Of course, if you are a fan of this film, it is casual, and maybe the atmosphere of the scene will make you more excited.

The douban score is slowly rising all the way, and I think it will rise one by one, because the quality is not bad, especially in the range of Chinese cinema films.