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The name "Wong Kar Wai" has been heard like thunder in the film industry, and countless classic works have been created.
He uses lines, shots, tones and script structures in his film works to form a unique Wong Kar-wai film aesthetic that can bring out the charm of actors and stories to the extreme.
As Wong Kar-wai's TV series, "Flowers" is naturally pinned on infinite hopes, whether it is the cast or character modeling, or the later publicity, so that many people are looking forward to the launch of this work.
Wong Kar-wai spent three years filming "Flowers", and after the launch of "Flowers", the attention of the satellite TV platform has also reached new highs.
But with the deepening of the plot after the broadcast, the audience's complaints once overshadowed the hot ratings
"Respect the TV series" "This is the 90s?"."It's such an arrogant narrative text", "it's chaotic and noisy", "There is a sense of déjà vu with an AI-edited soundtrack".
This time, it was the turn of 65-year-old Wong Kar-wai and overturned.
Unlike movies, which focus on connotation, the core of TV dramas is to tell a good story, which is obviously not Wong Kar-wai's forte.
The first feeling that "Flowers" gives people is: chaos.
Wong Kar-wai is accustomed to using images to tell stories, and every frame in the play is extremely exquisite, and almost every shot is live, but it only stays at the good-looking picture.
The plot opens with a car accident at the beginning, there is a design, but the frequent use of flashbacks and interludes makes people confused, one moment is 87 years, and the other time is 92 years.
The scene switching speed is too fast, and with a large number of sides, the audience suddenly doesn't know whether to follow the picture or follow the narration, as long as there is a "slip number" in the eyes or ears, the plot becomes very messy.
However, the reason for the slip is not all in the audience, because "Flowers" has a sense of separation.
The plot is very compact, the information points are particularly dense, and the shots that can be shot are too slow, and they want to highlight the atmosphere of the picture too much and ignore the coordination of the plot rhythm.
For example, when each character appears, shoot either from the top or from the bottom, or slowly advance the camera, fill up various slow-motion effects from various angles, and use slow shots to magnify the demeanor of each character.
However, in the next second, the slowed down camera suddenly accelerated, pretending to be boring, and "Flowers" gave the audience a very bad impression of chasing the drama, causing the audience to unconsciously detach from the plot itself.
In addition to chaos, "Flowers" gives people another feeling, that is: noisy.
"Flowers" basically didn't shoot anything, and the plot basically relied on the oral lines.
The long dialogues and sides in the play are too dense, and the lines are mysterious, especially for audiences who don't understand Shanghainese and **, the plot is even more difficult to understand.
The Mandarin version of the sound and picture is out of sync, the Shanghainese version has to keep an eye on the screen at all times, I didn't watch much of the plot, I only heard a group of people chattering and busy, but the audience didn't know what they were busy with.
Because there is a lot of blank space in the original work, it may be that "Flowers" tries to leave more imagination space for the audience through the technique of mysterious blank space.
But in TV dramas, too much emphasis on this technique will make people feel that the plot is fragmented and elusive, after all, most viewers want to see a complete story, not fragmented imagery and plot.
If you can't understand it, you naturally can't retain more viewers.
However, I have to say that Wong Kar-wai's lens aesthetics are really a must.
His shots seem to have life, even a simple shot portrayal is very storytelling, nothing is said, but it seems to have a thousand words.
Moreover, he does not apply a filter and tone to the whole drama, but designs the corresponding shots and light and shadow according to different characters and story atmosphere.
In the picture, the Yellow River Road is flashing neon, light and shadow are staggered, and Mr. Bao stands in front of the window looking at the hustle and bustle outside, and suddenly there is an atmosphere of mixed joy and sorrow, overflowing the screen.
I don't have to pick in terms of texture, the TV series is the same as the movieHowever, in the comments, some people feel that the Shanghai in the picture is not like Shanghai in the 90s.
The shots selected in the plot create a sense of age similar to that of old Hong Kong, and like Shanghai in the ** period.
The background of the story is separated from the painting style in the play, as if people are in a world of time and space, and it is impossible for the audience to follow the drama.
With the blessing of light and shadow and filters, the whole drama seems more exaggerated and less in line with reality.
Of course, this pompousness also comes from the performances of the actors.
For example, Hu Ge's greasy.
There is one word to describe Hu Ge's performance in the play: pretense.
He is really handsome when he poses in the camera, but he is really pretending to act, when Ah Bao stayed aside and listened to the teachings of his seniors, Hu Ge's contemplation that he wanted to perform was a little too strong.
Sitting on the side with his head raised and his face raised, his brows furrowed, for fear that others would not see that he was thinking about things.
Seeing that the people around him were insulted, Ah Bao stepped forward to stand up for others, this anger was impulsive, but Hu Ge performed more like a street gangster looking for fault.
He raised his side face, revealing his somewhat blurred jawline, tilting his head and kicking the other party, a kind of deliberate pretentiousness.
When he realized that he was being used as a pawn by others, Po sat on the sofa thinking about countermeasures, constantly rubbing the wine glass in his hand, tilting his body to 45 degrees, his eyes staring at the ground, squeezing out the lines between his eyebrows and opening his mouth.
It's just a shot, and the greasy has already overflowed the screen, and Hu Ge and the Shanghainese shrewdly insist on imitating Tony Leung's profundity, which is counterproductive.
Hu Ge's performance style has always been known for being natural and fresh, but oil has been poured in this drama, and sure enough, not everyone is as suitable for Wong Kar-wai's lens as Tony Leung.
However, what was unexpected was that Xin Zhilei and Wong Kar-wai's lenses were unexpectedly adapted.
Li Li played by her is not only smart and courageous, but also very charming, with a look and an action, all of which have a prohibitive charm, this kind of Hong Kong style is simply easy for her.
Wong Kar-wai is really exhausted?
It may be that Wong Kar-wai's set of ideas for filming movies is not suitable for filming TV series, and watching too much will make me feel aesthetically tired.
There is still a big difference between TV series and movies, and there are not a few examples of some film directors crossing over into the field of TV dramas.
For example, Feng Xiaogang's "Echo", "North and South", Wang Xiaoshuai's "Octagonal Pavilion Mystery Mist", Lu Chuan's "Extraordinary Doctor", etc., either failed word-of-mouth or hit the street.
Perhaps, "Flowers" is only suitable for those who have a soft spot for Wong Kar-wai's style and local audiences in Shanghai, and in any case, "Flowers" will become a controversial work.
What do you think of "Flowers"?
A good drama that has been watched n times