"Article 20" has become a masterpiece of the Spring Festival file, and Jia Ling's "Hot and Hot" and Shen Teng and Han Han's "Flying Life 2" have also achieved a double harvest of word-of-mouth and box office.
In this time of celebration, the film market is always full of competition and uncertainty. "Let's Shake the Sun Together" and "Mr. Red Carpet" unexpectedly announced the withdrawal, which caught people off guard. It was obviously a wonderful fairy fight, but he insisted on postponing the release on the grounds of winning or losing, which made the audience feel helpless.
However, what is surprising is that the box office performance of "Article 20" is relatively ugly. Although Lao Mouzi's work has highlights in comedy effect and plot depth, it still seems a little inconsistent compared with the champion works of the previous Spring Festival and National Day files.
In my opinion, "Article 20" not only performs well in comedy and plot depth, but also has a unique charm in character building. Hao Xiuping, played by Zhao Liying, is deeply rooted in the hearts of the people, and her performance makes the audience feel a strong breath of life in the film.
The group portraits in the film are full of fullness, and the tacit understanding between the characters doesn't even need words, showing deep life emotions just by modeling and appearance. Zhao Liying's solid acting skills made the role of Hao Xiuping a thorn in the hearts of the audience, which deeply touched people's emotional resonance.
Zhao Liying's role in this drama profoundly shows the living situation of a poor family through her shabby clothes and helpless eyes. From the old clothes on her body, to the worn-out shoes, to the equally shabby short-sleeved ones worn by her children, there is a silent recount of their difficult living conditions. Not to mention the schoolbag, which only appears once in the shot, its outdated and tattered appearance makes it almost easy to guess where it came from.
Zhao Liying's performance in the play is extremely in place, perfectly interpreting the role image set for her by director Zhang Yimou. When she took out the clothes she had worn and asked the character Hao Xiuping to change, the complex expression of surprise and disbelief deeply touched the hearts of the audience. She did not even hesitate to kneel down in the scene where she tried to convince her husband's friend to be a witness, and the tatters of her clothes were even more evident at this moment.
Among them, the unforgettable scene is the plot of Hao Xiuping's violation. Zhao Liying's hair was messy, her face and neck were covered with scars, and her collar hung loosely on her body, making people feel distressed by such an embarrassed appearance.
Even in such a desperate moment, before she could wipe the nosebleed from her face, she eagerly signaled to her husband that she had lost the will to live. This profound performance makes people can't help but be moved and feel the deep suffering that the characters have endured.
Zhao Liying's role is deeply rooted in the hearts of the people, but what is even more amazing is the director's clever handling of details. He presents the situation of the protagonist's family in a unique way. Hao Xiuping's home is despairing, it looks like it could collapse at any moment, the windows are smashed, and the door locks seem useless.
The shabby furniture and broken hangers in the home reveal the hardships of life. The utensils and spices in the kitchen are discarded, and the traces left on the cutting board indicate the loneliness of not being used for a long time. The movie may only be a quick glimpse, but these details make Hao Xiuping's image fuller and truly present their poor life.
In order to play a better role, Zhao Liying even lives a simple life in real life. This kind of mutual interaction between the director and the actor presents a very realistic visual effect for the audience.
Article 20 not only tells the poverty of Hao Xiuping's family, but also the story of Zhang Guisheng's death due to petitioning, Liu Wenjing's evil retribution, and the people in the village where Hao Xiuping's husband lives. Although the film does not deliberately highlight their poverty, the details are everywhere, which makes people have to marvel at Lao Mouzi's skills, and other directors can learn a lot from it.
Domestic films and TV series should present the image of the poor more realistically, but the audience is tired of the false image of the poor seen in domestic works. Some of CCTV's urban dramas are typical examples.
For example, the heroine in "Fearless" owes a huge amount of debt, but she has a luxury car and a mansion, eats a lot of food, and even has to take out a large part of the money from the lawsuit to sell the house;The second gold-worshipping girl and her younger brother in "Good Things Come in Pairs" usually eat takeout or fat reduction meals, but the plot of asking her brother to fry eggs for her early in the morning appeared in the play, which surprised the audience.
The screenwriters repeatedly emphasize the poverty of the characters, but they live in luxurious areas and have complete living conditions, and this contradiction is ironic. Through these plots, the audience can get a glimpse of the screenwriters' understanding of life and creative level.
What's even more surprising is that "Article 20" presents a tragic story in a comedic way, and this film not only has profound connotations, but also really ** the current state of law and society, aiming to attract the attention of the public.
Every word that comes out of their mouths, as well as the subtle changes in their expressions, deeply captivates the audience, leaving them addicted to it. It is worth mentioning that the portrayal of the poor does not take the method of directly selling pathos, but through the display of the plot, let the audience feel it for themselves.
This technique really shows the director's skills. Therefore, those directors and screenwriters who can create "fake poor" should learn more from some well-received film and television works, otherwise they will attract public dissatisfaction and ridicule. February** Dynamic Incentive Program