A major cultural and entertainment event in the New Year is that "Flowers" is coming, it is popular and explosive.
The popularity of "Flowers" cannot be said to be without warning in advance, but before revealing the true face, all parties are more confused. Does a film director make a TV series?Is Wong Kar-wai's non-linear narrative still good?Can the fragmented narration be strung together into a complete and powerful story?Will you embroider a pillow with a pack of grass?Will people be in Shanghai and Hong Kong?
Tencent's membership** has come to an end, and Dragon TV's Shanghainese version is in full swing. All of the above doubts have been cleared up, and all fears have been proven to be unfounded.
"Flowers" is a successful fusion of high-quality film and television resources from the mainland and Hong Kong, and Dragon TV and the Shanghainese version of "Flowers" are a perfect combination of the same frequency resonance.
The praise and mystery of "Flowers" are full of pits. Here is a look at the audience who entered the pit early and stamped it, why "Flowers" works, and why the Shanghainese version of "Flowers" is a unique product among the orphans.
Comparing "Flowers" with "Little Times" is a big joke. To say that Wong Kar-wai can't tell stories is a big misunderstanding.
Wong Kar-wai started as a screenwriter. He came from TVB's screenwriting training class, which is the most dramatic conflict, and he had at least five years of professional screenwriting career before becoming a director. In the extremely market-oriented Hong Kong film industry, there is no room for screenwriters who can't tell stories, from "Caiyun Song" to "Final Victory" to "Fierce Ghost Mission", he has become more and more proficient.
Wong Kar-wai's first film "Mong Kok Carmen" is still a drama with a turbulent narrative and a tight structure. It was after his reputation and continuous exploration that he embarked on the road of stylized art films. He continued to refine his skills on the road of differentiation, and eventually became a banner of Hong Kong cinema.
Movies are short, emotionally driven fragments are enough. TV series are long-form and must have a complete story and rich details. Wong Kar-wai knows this, so"Flowers" does not have a story of severed heads, does not replace reality with fiction, and does not take the route of form greater than content.
Wong Kar-wai has a clear sense of style, and it was screenwriter Qin Wen who helped him achieve the completion of the TV series. Although there are not many reports and reviews mentioning screenwriters, those who are familiar with the creation of TV dramas know that a 30-episode TV series is based on the screenwriter's labor.
Qin Wen is a mature screenwriter from a professional class, and her previous TV series masterpieces include "We Have Nowhere to Place Please Spring", "The True Story of Hot Mom", "The First Half of My Life" and "Golden Years". She is good at originality and adaptation. From ** "Flowers" to the TV series of the same name, Qin Wen's eyesight for choosing the original work, her ability to structure the story, and her ability to create details can be seen everywhere.
A good screenwriter and a good director who understands the screenwriter will ensure the play. In the process of turning the script into a video, Wong Kar-wai naturally played a decisive role. It's not so much about making 30 episodes of TV series, it's about making 10 movies.
Wong Kar-wai really used his dreamlike video style, the narrative art of nesting puzzles, the ambiguous emotional interactions, and the sensational but not abusive interludes and soundtracks all used in this work.
It can be said thatQin Wen's script + Wong Kar-wai's audio-visual constitute an artistic lone book that has never been seen in Chinese TV dramas. It can even be said that Wong Kar-wai's previous films were all preparing for this drama, and a film director has reached the pinnacle of his personal artistic career in the creation of TV dramas.
"Independent woman" is a high-frequency word in the creation of national dramas in recent years, and it is also a language technique often used in drama copywriting.
But strictly speaking, most of the female figures with this label are slogan-like, pandering, and disregarding the arc of the character. "Flowers" did not play this card, but just followed the traditional craftsmanship of national dramas, straightened out psychological motivations, improved the growth curve, and created two truly independent women - Miss Wang (played by Tang Yan) and Lingzi (played by Ma Yili).
When Miss Wang first appeared, she was the eldest lady, doing things in a hurry, and she had to prevail in her speech, resist corrosion, and never get wet. Later, he exposed his "love brain", drove a long distance to save the treasure (played by Hu Ge), and was willing to accompany him to the end of the world. However, Mr. Bao is a guy who "doesn't make a sound" in business, and he "doesn't make a sound" in the face of confession. Although he is a thoughtful messenger of flower protection everywhere, he does not accept the trick by dragging mud and water.
As a result, in the process of being frustrated by the unit and delegating to the grassroots level, Miss Wang woke up to the side that could not give up on the "wharf", and embarked on the road of "Hongkou Xiao Wang" alone without hesitation. This change is so unforgettable, how brave and heroic.
Reiko was a "debt collector" when she first appeared, and the "Night Tokyo" she ran was not very profitable, but she always got money from Mr. Bao. Miss Wang is a rich peony flower, and she is a wild rose. On weekdays, he is an outsider in an accident war, and an insider in a civil war. Sometimes I can stand up to it and make a show to get the "king snake". However, Reiko is also an infatuator, so she doesn't say anything, and uses her actions to watch the return date of the treasure.
While Miss Wang was in distress, Reiko also saw the hopelessness of waiting. So, the pseudo proprietress who made things happen because of people learned from the pain and turned into a real proprietress who relied on her ability to eat, and staged a legend of "knocking out" the past and creating a new situation. This change is so clear and thorough, and how unrepentant.
TV series are the sum of the author's and all social relationships, and a good character is able to achieve self-consistency and negotiate with others. According to the broadcast progress of Dragon TV, the beautiful trajectory of Miss Wang and Lingzi has been drawn, while the inner world of Li Li (played by Xin Zhilei) and Mr. Bao is still under construction.
We have clearly perceived that the play brings together all kinds of living people from rookies to old mages, from speculators to industrialists, from amorous to dedicated, and so on, haunting the hustle and bustle of Huanghe Road and Jinxian Road.
"Flowers" not only writes about infatuated men and women, nor does it just write about spiritual growth, it also writes about shopping malls like battlefields, and writes about the high-spiritedness and loneliness, throbbing and struggle of an era.
Wong Kar-wai can tell stories and understands economics. Know the capital, but also understand the market. Fan Xinhua (played by Dong Yong), the director of Huxi Knitting Factory from Hangzhou, roamed the beach with the attitude of "an outsider and an internal traitor". His several pulls with Mr. Bao and Mr. Wei (played by Zheng Kai) are a small test of the clothing battle.
A battle broke out on the Yellow River Road, and the boss lady alliance led by Jin Meilin's proprietress (played by Fan Xiangyan) wanted to put Li Li, the proprietress of Zhenyuan, to death. A battle to cut out the chef and cut off the source of goods has begun. Mr. Bao and his uncle (played by You Benchang) saw the move and resolved it one by one. Opening a restaurant on a street is a zero-sum game. This life-and-death struggle truly embodies Wong Kar-wai's narrative art.
Mr. Bao's business has always been divided into two ways. All the way to the field, all the way to the capital market. Industry has the way of playing industry, and capital has the logic of capital. The game and fight between industrial entities were vividly demonstrated in the first half. And the second half is mainly the competition of the ** market, which is actually another comfort zone for Hong Kong film and television people.
This is called business war like spy war, this is called praying mantis catching cicadas, yellow finches are behind, this is called the strong in the strong has its own strong hand, this is called small victory by wisdom, big victory by virtue, this is called out to mix, sooner or later it will be returned, this is called happiness and sorrow, the ultimate reversal.
The series of business war dramas of "Flowers" gave the audience great aesthetic satisfaction, and also witnessed the vigorous work and infinite scenery of Shanghai in the nineties of the last century.
It was the era of Shanghai and Shenzhen, and the stock index was around 1,000 points. It was the era when the market economy had just been established, and the allocation of resources by the market brought unlimited imagination. That's 0In the era of 230,000 yuan, this figure will reach 8 in 30 years570,000 yuan. It was a time of opportunity in Shanghai, where heroes from all walks of life would hunt in the burgeoning market.
Mr. Fan relied on cunning, Mr. Bao relied on "doing math problems to make money", Li Li got rich by poor information, Lingzi relied on craftsmanship to eat, and Miss Wang relied on strong will to open up the situation. In such an era of sailing, people who work hard can enjoy dividends, and they are all drawing the other side of the ideal.
This painting of the times is full of weather, and this symphony of hundreds of turns and thousands of times lingers.
Blossom Flowers is available in Mandarin and Shanghainese. The first time, I watched the Mandarin version. The second time, I launched the Shanghainese version**.
Dragon TV is broadcasting the Shanghainese version. Only the Shanghainese version can show all the style and charm of "Flowers". Because, language and expression are inseparable overall expressions. Shanghainese people speak Shanghainese dialect the most relaxed, the most enjoyable, and the most subtext and true temperament. Shanghainese speak Mandarin, and the universal version is given, but it is not an exclusive version.
During the filming of "Flowers", Shanghainese actors Hu Ge, Tang Yan, and Ma Yili all used Shanghainese. And Mr. Fan, the small boss from Hangzhou, is the actor Dong Yong's self-created language family that integrates the Yangtze River Delta dialect. Mr. Fan's first out of the circle is inseparable from this unique line system. And the delicate communication between the protagonists is not that the Shanghainese version cannot be fully in place.
According to China's audiovisual big data released by the General Administration, Dragon TV will continue to lead the ratings of ** TV dramas in 2023. Among the top 10 annual ratings broadcast on a single channel of dramas, Dragon TV's repertoire occupies 6 seats. Dragon TV's "Infernal" was the only drama in the provincial satellite TV's ** repertoire last year with a rating of 1.
For many years, Dragon TV has been the No. 1 broadcast platform for TV dramas in provincial satellite TV. At the beginning of this year, they served the audience with the Shanghainese version of "Flowers", and once again won a double harvest of ratings and reviews.
Every hit drama has a certain long-tail effect, this is the case with last year's "Hurricane", and the same is true for this year's "Flowers". The broadcast of Tencent** and Dragon TV has formed a synergistic effect of layers of waves, and "Flowers" is penetrating into a deeper and wider audience.
Now, the Shanghainese version of "Flowers" can be arranged.
Text: Li Xingwen].