First of all, "Hot and Hot" can be regarded as a good movie, it is worth watching, it may be slightly better than many released Chinese films, but it is far from being a god, and it is not even excellent. Despite the previous vulgar jokes and slightly redundant sensational paragraphs, when "Send You a Little Red Flower" sounded, Jia Ling still completed the core presentation of "Hot and Hot" with a buried reversal (perhaps experienced fans have guessed). 
The extreme weight loss in and out of the play, and the amazing box office of the work have added a lot of expectations to this "Hot and Hot", and have also become the core driving force to promote it to become the highest box office in this year's Spring Festival. Compared with the adaptation of the original work, the Japanese movie "100 Yuan Love" can still see the intentions and shortcomings of the script team, and under the premise that other technical aspects are bland, the shallowness of the story has become the most conspicuous flaw of "Hot and Hot" and Jia Ling. 01.* The class truth behind it, whether Jia Ling and the film team are willing to admit it or not, "* is definitely a keyword that "Hot and Hot" can't jump on. At the same time, no matter how anyone, including Jia Ling (especially women), whitewashes their ** behavior, "women are the ones who please themselves", actively self-discipline, challenge themselves, always win once, and so on. Its essential motive can never be separated from the compromise of mainstream aesthetic concepts. Especially Jia Ling's public appearance in the past few days, she is indeed so thin that she seems to have changed into a different person, her former round face has become a square face, and she cried so much as soon as she appeared on the stage, and she was already judged to be like two people who controlled the audience, and it was speculated that she was depressed. 
But what is the value of this weight change? Does it look and feel? I don't think Jia Ling is so glamorous now**? On the contrary, it is the small dimple on the face of the round huhu before, with a thick body shape and a warm smile, which makes people feel kind and more emotional value when they see it. Inspirational stories? Spending money, spending time, anti-human, constantly hungry, depressed, and crying at the box office of hundreds of millions every day. The ultimate goal is to slim the body and thin the fat layer by a few centimeters. Encourage everyone to be active**? Encourage everyone to cater to the so-called elite style, white and thin aesthetics? 
There are also supportive fans who provide reasons for the "health" and "self-discipline" levels. But no less tenable. First gain weight and then lose weight quickly, with the support of a professional team, pay the price of retiring from the public eye for a whole year, feeling depressed and on the verge of depression, etc., what health is there at all? At the same time, Jia Ling wrote the script, first filmed the weight gain part, and then took a production team of more than 100 people, with a cost investment of hundreds of millions, and more than one million audience expectations, just for the follow-up boxing part, for the sensational passage of self-watching in the corridor. This is no longer the self-discipline of ordinary white-collar workers, but the "other law" that is coerced by capital and team. 
In fact, I miss Jia Ling very much in those years, the hot and spicy exchange with Shen Teng in the trump card, the laughter at the press conference, and the cordial and easy-going in life and work, that is a beloved actor and a rich and warm life. was originally an independent and enthusiastic existence, but for the sake of mainstream aesthetics and public recognition, the so-called inspirational and "transformation" has been completed from inside and outside the play. Is this a metamorphosis? This is nothing more than a vivid individual, finally "cut to fit for the job", jumping into the trap of mainstream consciousness (constructed by the elite) and mediocre aesthetics (echoed by the masses). Professor Chu Yin's several speeches have revealed the truth of **. In the era of scarcity of materials, fat is the beauty, the rich can eat meat, and the leisure can make up, which is the wealth of the world. However, in the modern society with abundant materials, it is almost the right of every ordinary person to become fat and leisurely. Therefore, the elites must create new "class differences" and "elite labels", exercise, maintain their figure, maintain their health, and make up for themselves. Even Jia Ling, who has a box office of billions and has the right to speak as a "quasi-first-class" director, has to succumb to such guidance or misleading. 02.The deeper the malice, the more inspirational it is As an adapted movie, "Hot and Hot" has a similar story structure to the original "100 Yuan Love", both of which start with the low-level waste wood girl learning boxing, and then reverse the counterattack and confirm herself as the ending. And in many details in the film, you can feel the serious intentions of Jia Ling's team, which has completed the localization transformation from the inside out. 
In classical drama theory, "conflict" is the most important core that determines the brilliance of a film. In revenge movies, the core of the conflict is a cunning and powerful enemy; In a love movie, it is the impossibility of reality and the super obstacle of family and family; In inspirational movies, it is the malice of reality, the dislike of others, and the ultimate realization of self-strength and achievement counterattack. Substituted in "Hot and Hot", there are a lot of localized details, but while it is changed, it loses the deeper core of the original work. As a result, the conflict is not obvious enough, and the inspirational is not enthusiastic enough. 
In the script of the original "100 Yuan Love", a son was disgusted by his family, tore up with his sister, was disliked by the store manager**, was disgusted by his boyfriend, and was rubbed on the floor by the bottom life. Her fist is smashed against the resentment and despair of poor life, and it is smashed against the sinking and restraint of her own inertia. She doesn't need to cater to anyone's aesthetics, she is rebelling against the established perceptions and stereotypical standards that others project on her. In the first half of "100 Yuan Love", it is almost completely depressed and gloomy, with no humor, no lyricism, just a slowly flowing river of life, and oil and garbage floating on the water. Everyone around Ichiko seems to have deep malice and is full of the indifference of "developed countries". 
These foreshadowing provided a strong emotional support for Kazuko to choose boxing and vent his anger in the ring. On the other hand, "Hot and Hot" dissipates this heaviness through regular comedy operations and gag jokes. Including the sketch dialogues of Qiao Shan and Li Xueqin, the CP, the bullying and dialogue at the barbecue restaurant, all add jokes and baggage, which on the surface makes the viewing process easier, but in fact it dissolves the core conflict motive of the film, as well as the suspenseful tension of the reversal narrative. 
Especially in the love passage between Jia Ling and Lei Jiayin, Lei Jiayin did not reveal obvious malice (maybe not admitting the identity of the couple out of shyness?). The two are more like low-level couples snuggling up to each other and supporting each other. The malice that was dissipated, the resentment that was vented, and finally pushed the boxing paragraph that could not be fully supported. As a result, many of the burning passages in the film gradually seem repetitive and lengthy (with the exception of the one section in "Little Red Flower"), which constantly washes away the audience's patience and enthusiasm.
Not only that, but the audience quickly perceives that such boxing is undoubtedly unprofessional and untrustworthy, and in turn will question the reasonableness of the act itself. As a low-level waste firewood youth and barbecue restaurant worker, can she support a boxing sport of 300 yuan per class for a long time? Have time to run and practice boxing, and then lose 100 pounds of fat? At the same time, it also raises questions, is it possible for a girl with a pleasing personality to stay at home for several years? 03.The self-confirmation of the pleasing personality In order to analyze Du Leying's self-perception and pleasing personality in the film, I had to make some spoilers, although I would be very restrained. was at home gnawing at home, was disgusted by her divorced sister, and was calculated by her sister about the house in her hand, but Le Ying swallowed her anger and silently signed to give the house to her sister; The best friend and her boyfriend got together, and the best friend also wanted to ask her to be a bridesmaid to cover up her little three behaviors
endured the severe pain of breaking his body and catered to his boyfriend's needs, but he heard that his boyfriend did not recognize the relationship between the two and said to others, "It's a student";also felt pity for her cousin and helped her complete the exaggerated performance on the variety show, and the cousin was able to successfully join the company and become a regular performer with this performance, but was heard by Le Ying again, the cousin was just using her obesity as a gimmick, and had no emotion for her.
On a stormy night, when she was desperate, Le Ying jumped from the window, but she did not end her life, and she was not even "injured at all", so she hit the bottom and began to seek a victory in life. Let me interject, "Send You a Little Red Flower" seems to be in line with the mood, but it is not the right choice. Because the author Zhao Yingjun has passed away, this song also has a broader and heavier connotation because of the movie of the same name.
In addition to "**" and "sensationalism", Jia Ling tries to steer the conversation towards self-affirmation and inner strength. A conversation between her and her father made a point: how to give two apples, one large and one small, to others?In the past, Le Ying would immediately hand over the big apple to express her kindness;But she gradually discovered that others who got the big apple would continue to stare at the small apple. What's more, she will be accustomed to thinking that Le Ying doesn't like to eat apples, and that it is not her kindness to give apples, but that the recipient is helping her solve her troubles. It's like her boyfriend always thinks that Le Ying likes to eat bullfrogs. After growing up, Le Ying no longer immediately handed over the big apple, and no longer instinctively chose to please and be kind. To give big or small, it all depends on your mood.
Therefore, whether to be fat or thin, to tolerate or to break off relations, to cater to or to withdraw, to accept or to reject, the criterion is simply to conform to one's own heart, not to care about other people's opinions, and not to take into account worldly perceptions. This is a sound personality that has matured and stabilized after being tempered. From the self-comparison in the corridor to the cold statement to her boyfriend at the end of the film, it is all Le Ying's chic state after she is strong.
Therefore, this is the real theme of "Hot and Hot", that is, to follow your own choice, give up pleasing the world, give up pleasing others (even your family), and shine with a strong ego. So, the last remaining question is that since we advocate that everyone follow their hearts and be themselves. Then, with the true love between mother and daughter of "Hello, Li Huanying", and the weight loss and boxing of "Hot and Hot". Next time, can you break away from your own aura and make a third-person movie with a relatively objective perspective? Director Jia Ling? After all, movie fans should pay more attention to the film work than the director's own lace anecdotes, right?