Mention "Second Battalion Commander, where is your Italian artillery?" This line, does it feel like opening a door to time, and it is instantly pulled back to the anti-Japanese era full of gunpowder and pride? That's right, this is the classic quotation of Li Yunlong, the head of the independent regiment who is as fierce as fire and brave in "Bright Sword".
This drama is like a pot of old wine, the older it gets, the more fragrant it becomes. Despite the passage of time, it still makes people mesmerized. Why does "Bright Sword" have such a big charm? The answer is very simple, it is because it is real and down-to-earth, and every character has flesh and blood, as if they are our comrades-in-arms and relatives around us.
However, a classic is a classic, and sometimes it really can't stand the "stir-fry". No, the new version of "Bright Sword" is here. To be honest, when I first heard the news, I had mixed feelings. After all, with 4000w's generous investment, it stands to reason that it should be able to bring a visual and spiritual feast to the audience, right?
However, the greater the expectations, the greater the disappointment. The new version of "Bright Sword" gives me the feeling that it is like a well-cooked meal, but it tastes like chewing wax. Could it be that my tastes have changed? Or is there something wrong with the way the dish is made?
Not to mention anything else, let's compare the gap between the old and new "Bright Sword". Let's see this "stir-frying" classic with high investment, is it innovation or destruction? Is it to continue the glory of the classics, or to let the classics be dusted?
Huang Zhizhong and "New Bright Sword": A challenge in the shadow of a classic
In the glamorous entertainment industry, there are always some actors who are not afraid of challenges and have the courage to take on the roles of those who have classic predecessors. Huang Zhizhong is such an actor. When he received the invitation to "New Bright Sword", he knew that he was facing not only a role, but also an insurmountable mountain.
Bright Sword", an anti-Japanese drama, has long been deeply rooted in the hearts of the people and has become a classic in the hearts of the audience. Li Yunlong, played by Li Youbin, is even more unforgettable. His domineering image and informal personality have left a deep impression on the hearts of the audience.
And Huang Zhizhong, as a powerful actor, has performed remarkably in other dramas. But in the face of the challenge of "New Bright Sword", will he be able to jump out of the shadow of Li Youbin and deduce his own Li Yunlong?
During the filming process, Huang Zhizhong can be said to have done his best. He often frowned and kept a straight face, trying to show Li Yunlong's "violent temper". But the audience felt that he was pushing too hard.
His performance is more like imitating Li Youbin than interpreting Li Yunlong in the original book. This also put Huang Zhizhong under pressure, and he knew that he had to find his own way of acting.
In addition to the performances of the actors, the success of a drama is inseparable from the careful preparation of the props team. In "Bright Sword", there is a scene that is impressive: Li Yunlong and Political Commissar Zhao are drinking and chatting in the room. The table was full of food and drink, and the two sat cross-legged and chatted face to face.
This scene seems simple, but it is full of life. In "New Bright Sword", this scene seems too neat and deliberate. There are only a few simple props on the table, and the two sit up straight, as if they are filming an advertisement rather than acting out life.
Such a comparison makes the audience miss the old version of "Bright Sword" even more. In that drama, every detail is done very well, making people feel as if they are in that era. And "New Bright Sword", although it has a higher budget and more advanced technology, is distorted in details.
Of course, we can't deny Huang Zhizhong's efforts in "New Bright Sword". He tried to interpret the role of Li Yunlong in his own way, but the classic shadow made it difficult for him to break through.
Iron man tenderness and "rough man" Li Yunlong
In the tide of anti-Japanese war dramas, the role of Li Yunlong is like a unique reef, standing tall. But you know what? In the old and new versions of "Bright Sword", there is a big difference in the image of this iron man.
Under the sunset, the old version of Political Commissar Zhao and Li Yunlong sat side by side, and the picture was as beautiful as an oil painting. And what about the new version? The window was changed to behind Political Commissar Zhao, the same seat, but it always made people feel ** wrong - is there something missing? Oh yes, it's that kind of "rough man" romance.
Speaking of "rough man", I have to mention the classic lines blurted out by Li Yunlong: "Second battalion commander, where is the Italian cannon of 'you mother'?" "I can't hear that in the new version.
On the contrary, the new version of Li Yunlong seems to have more "tenderness", and even has the love line of first love. Why is that? Is it to let us see that the iron man also has a tender side? But to be honest, such an adaptation feels a bit overwhelmed.
Let's talk about food. In the old version, when Li Yunlong got married, everyone sat together, and the only meat dish was the canned pork captured from the enemy. And what about the new version? There are all kinds of pork belly and pork ribs, this standard of living is really a world of difference! But then again, is such a change really in line with the historical context of the time?
In fact, we like Li Yunlong, not only because of his down-to-earthness, stubbornness and truthfulness. More importantly, he is a man of flesh and blood. In the old version, when faced with the criticism of the chief, Li Yunlong would bow his head and be trained.
And what about in the new version? Li Yunlong played by Huang Zhizhong is like a thorn and a bandit, who has no good face for anyone. Does such a change really let us see a more three-dimensional and multi-faceted Li Yunlong?
Classics and remakes: the acting gap for a meal
Sometimes, a simple meal is enough to reveal the world of difference between two TV series. When we look back at the "Bright Sword", which has been on the air for nearly 19 years and is still evocative, we can't help but compare it with the new version. And in it, an inconspicuous eating scene turned out to be the "touchstone" of two versions of acting.
At the devil's banquet, Monk Wei sat at the table, and in front of him was a table of sumptuous food. The new version of him is like an uncivilized savage, stuffing things into his mouth regardless of the image, as if he is using food to vent his inner emotions.
That way of eating is neither like being hungry for a long time, nor like enjoying food, but more like having a meaningless battle with food.
And what about the old version of Monk Wei? All he had in his eyes was food, and the long-lost satisfaction was palpable. He eats so deliciously, so naturally, as if every bite is a cherishing and gratitude for life.
You can feel that although he is eating this meal in the devil's camp, his heart is not comfortable. That kind of complex emotion was handled just right by the old actors.
This is not only the difference in eating, but also the difference in acting. Every detail in the old version of "Bright Sword", whether it is the props or the performances of the actors, seems so real and so attentive.
And the new version, although it is a brand-new TV series, may be more exciting than those anti-Japanese dramas, but with the old version of Zhuyu in front, the brilliance of the new version is undoubtedly greatly overshadowed.
In today's TV drama market, anti-Japanese dramas can be described as unique. However, they are not so much "anti-Japanese dramas" as "cool dramas". The plot of tearing the devil apart and defeating the entire army by one person is not uncommon, as if the audience has entered a fantasy world of "I am cool and I am reasonable".
But does such a plot really fit history? Apparently not. Some crews may feel that the audience likes to watch such a "cool" plot, so they do what they like, how enjoyable and how to shoot.
But the question is, shouldn't the core of anti-Japanese dramas be real? Only the real plot can make the audience feel the hardships of that era and the heroism of the martyrs.
It's a pity that many crews don't seem to care about this. They may not even understand the most basic historical background, and they begin to make things up out of thin air. The most ridiculous thing is that these dramas are still under the banner of "anti-Japanese historical dramas", as if this can cover up their inherent emptiness and ignorance.
Think about those children who are still growing, how will they understand history after watching such a drama? I'm afraid I will only feel that resisting Japan is an easy game, and the sacrifices and efforts of the martyrs have been lightly passed by these dramas.
Of course, there are also classic anti-Japanese dramas like "Bright Sword". It has become a classic by no means because it is "beautifully made" or "praises us and belittles the enemy". But because it truly reproduces that era, allowing the audience to see how the martyrs laid down our country with flesh and blood in a difficult environment.
Remakes of classics have always been a popular choice for domestic dramas, but the results are often disappointing. It's like a delicious piece of cake in front of you, and everyone wants a piece of the pie. But in the end, they often just feed the cake to the original owner, and they don't get anything.
At the end of the day, the audience's eyes are bright. They know what a good drama is and what a divine drama is. Therefore, for those crews who just want to pursue "cool", maybe they should reflect on it: After being cool, what is left of your drama?