Text/ Guo Zeyu
Among the films released in this year's Spring Festival, "The King of New Comedy" is the most difficult to comment on.
It can only be said that what I feel the most from this movie is the desire to grab money, and the most deserving and not having is the love for the movie.
Compared with the old version, many people said that they fried a cold rice, and replaced the protagonist with a female and filmed it again. In fact, the audience is not concerned about whether to repeat themselves, but whether the bowl of rice is fried or not. The plot logic of "The King of New Comedy" is a mess, the emotions lack the necessary ups and downs, and the character modeling is even more lackluster, which makes people disappoint and question: Why not copy it again and again according to the old version?
I have imagined many times that if I followed the plot, rhythm, and characters of the old copy, would it be much better?
The answer is obvious, no. Without Zhou Xingchi, even if it is the original recipe, everything will not be the original taste. The Taste of Hong Kong in the original film is something that E Jingwen and Wang Baoqiang cannot deduce no matter what. So what's the problem with The New King of Comedy?
It's the dramatic text itself. That is, the problem of the script, the problem of the characters.
Yin Tianqiu in "The King of Comedy" is very persistent about acting, and all this has a big premise: he is extremely talented and has not succeeded because of his personality and opportunities. There are a large number of plots in the movie to support, such as he teaches acting to the drinking girl, teaching acting to the street, which seems ridiculous, but in that context is completely credible, and there are a lot of sad meanings, the audience will empathize with him; on the contrary, The King of New Comedy, a large number of plots show that, such as dreams, seems to have no acting skills at all, her persistence is more like a stupid stubbornness, subject to various unfair treatment in work, life, and emotions, making people unable to sympathize, but there is a sense of really let life teach her a good lesson, in other words No one would think that she could eat this bowl of rice, and it would be better to wake up early.
Compare another point: the climax of "The King of Comedy" is Yin Tianqiu with undercover, the plot seems absurd, but in the Hong Kong film "all overheated, all crazy" style environment is not abrupt, that strand of stunned is very Yin Tianqiu; the climax of "The King of New Comedy" is like a dream in the mirror to present their own skin pain essence, get recognition, get the opportunity to star, and from then on the road to success, the whole paragraph seems to be playing, there is no need to lay out the front, the paragraph is insufficient, it can be said that it is not qualified to become a dramatic climax at all. The climactic part of a movie deals with such a child's play, it cannot bear the audience's emotional catharsis, so don't blame the audience.
As a film that rushed to complete the performance bet, Rao is a star, and he can't justifiably ask fans for the movie tickets of that year.
I wonder what everyone thinks?