A "matrilineal" family, the growth of three generations of women, and countless life issues, "Fireworks Family", which has been expected by the audience since the establishment of the project, is finally here.
The family topic panoramic group drama "Fireworks People", with Yang Xiaopei as the artistic director and chief producer, is adapted from Douban Reading *** She and Her Islands", which tells the warm story of the three sisters of the Meng family and their daughters who support each other and grow up after encountering various problems and confusions in family and marriage. The show's slogan makes the gist clear: home is a weakness and armor.
Looking at the story alone, it is easy to remind people of a sentence in "One Hundred Years of Solitude": in this family, everyone is an island, and the connection between them is so inseparable that it seems to be swallowed up by a storm at any time. However, in this lonely castle, everyone is living tenaciously in their own way, looking for their own happiness.
After watching ten episodes, you will find that "finding" is the key word of "Pyrotechnics".
How do middle-aged women deal with marital crises? Can a woman in her thirties take the initiative in her destiny? Is it to bow to the world and become a good woman template in the eyes of others? Or follow your heart's proposition and be the "runaway Nala" in the new era?
Through the shaping of family group portraits, "Pyrotechnics" extends the common issues of young women to different ages, captures their endurance, and writes about their searches.
After the broadcast, "Fireworks People" was unbeatable in the TV drama ratings statistics during the CVB China Audiovisual Big Data ** period, and the ratings of the premiere on February 13 broke 3, with an audience share of 12955%, the peak of Kuyun's real-time ratings exceeded 242%, which can be described as hot at the beginning of the broadcast.
Family dramas have been prosperous for a long time because it provides the audience with a sense of life and popularity. They are based on fireworks and human feelings, shaping characters and constructing contradictions, which not only contain the evolution of traditional family concepts in the modern metropolitan market, but also directly hit the pain points of life, which greatly stimulates the audience's empathy and synaesthesia.
The changing intergenerational relationship and the family conflicts that mix the old and the new with the development of the times determine that family dramas are often filmed and new. The innovation of "Pyrotechnics" is that it sets the background of the "matriarchal family" in which women formulate family rules and values, and at the same time strives to dig in perspective and rhythm, and walks out of a new path of family drama.
It still follows the flow of life, and the careful scenery and textured images restore the situation of many ordinary families; It delves into the minutiae of family life and profiles all aspects of the family's various characters, giving the audience a sense of realism and immersion.
A family banquet at the beginning of the chapter showed the face of the Meng family and pierced the lining of the Meng family; The tense mother-daughter relationship between Meng Mingwei (played by Xu Fan) and Li Yijin (played by Ma Sichun) reflects the family daily life of countless audiences; Meng Yunqing (played by Liang Jing) and her daughter Tao Shuna (played by Sun Qian) get along like friends, writing an ideal intergenerational relationship; Meng Yi'an (played by Li Xiaoran) swings between career and family, reflecting the embarrassment of modern independent women who are not enough for outsiders.
Each character represents a different group of people, and such a typical character sampling and its full and three-dimensional character creation make the audience can't help but follow the Meng family to resonate at the same frequency, appreciate the taste of life, the workplace, and the courage to try and find a new solution to life in the face of difficulties.
For example, Li Yijin subconsciously hopes to escape from the overly tense family education and atmosphere through marriage, but life is not a fairy tale, and it is impossible to complete self-independence by relying on others completely, whether it is intergenerational conflict or emotional problems, you need to rely on yourself to re-find the rhythm of life.
From this character alone, it can be seen that "Fireworks Family" abandons the cool drama writing and kindness solutions in the usual family dramas, but allows her to move towards a society that is both real and challenging.
In the face of the difficulties of her boyfriend's family, she did not have the courage and ability to slap in the face immediately; Faced with the family dilemma of her father's almost absent responsibilities and her mother trying to take care of everything, Li Yijin did not have a big brother or elder sister who could shelter her from the wind and rain; suffered a love blow and wandered alone in a foreign land, and she did not "meet" Prince Charming from the sky ......
This is another layer of embodiment of the flow of life and typicality of "Fireworks People", which just echoes the proposition that people resonate with today: "Without vampire parents, Prince Charming and Goldfinger, how can an ordinary woman live this life?" ”
My soul starred in this drama without me...... "Xu Fan is playing my mother".From the audience's discussion, it can be seen that the attempt of "Fireworks People" to break the routine of family drama creation is risky, but effective. It is such a detailed and realistic portrayal that mobilizes the audience's empathy and desire to speak.
"Fireworks Family" takes the group portrait mode, and the main creator designs the multi-dimensional character relationships such as mother-daughter lines, sister lines, grandparents lines, friendship lines, career lines, and love lines, and connects and sublimates the theme with a balance between family affection and women's independence, effectively resonating with the audience, and also stepping out of the comfort zone of family dramas.
This reflects another creative feature of "Fireworks People": anti-closure.
First, it does not focus solely on a certain character or a certain group of people, but depicts the lives and dilemmas faced by women of different ages and occupations.
For example, Meng Mingwei, where does her inferiority complex and excessive attention to her daughter come from? What are the causes of lameness? And where does the stranger-like way of getting along with her husband come from? will gradually unfold as the plot progresses.
Similarly, Meng Yunqing and her husband's strange marriage, Meng Yi'an's struggle between the workplace and the family, are all described in detail, and everyone is not a product of facial makeup.
Second, many family drama narratives in the past usually have a strong pertinence, or focus on the conflict between mother-in-law and daughter-in-law, or discuss educational topics, or present the current situation of pension, which not only reflects social changes, but also caters to public expectations, which makes the topic of such dramas a hot topic in the market.
But it is undeniable that the perspective is focused, and the limitations of the narrative space are also exposed, and the creation of family dramas often falls into the trap of theme first, routine, and homogeneity. Therefore, how to carry out diversified innovation is the key to breaking through.
"Fireworks People" writes about the family, and then walks out of the family. The bits and pieces that the characters get in the family will be presented in another way in the campus and workplace, and their experiences in society will in turn affect family relationships.
Li Yijin's "blind date" pressure in the family inevitably affected her work. Her mother tricked her into going on a blind date, which led to the important cooperation she was talking about; Tao Shuna's willfulness and persistence in love come from her mother's encouraging education and the realistic ...... of marriage
The place of the characters' activities in the play is in the family, but also in the society, everyone faces a variety of problems, and the panoramic perspective of the multi-line narrative and the relationship map from point to surface test the skills of the main creator.
It can be said that "Fireworks Family" has stepped out of the comfort zone of family dramas, and has achieved a comprehensive breakthrough from character relationships, plot density to narrative space with a relaxed rhythm.
Finally, I would like to talk about the "internal and external symbiosis" embodied in "Fireworks People", which is also the part that I feel the most.
"Fireworks People" writes about intergenerational trauma and blood bonds, but on this basis, special attention is paid to emphasizing the "presence of home" in the details, highlighting the strong family affection that cannot be concealed under the contradictions.
Qiao Haiyun (played by Song Chunli), the head of the Meng family, said, "Our girls from the Meng family must go home for the New Year every year. "Even if there are comparisons and unhappiness with each other at the dinner table, the meaning of family reunion cannot be erased.
On the line between Meng Mingwei and Li Yijin, there are two shots that are impressive.
Li Yijin and her boyfriend saw that their parents were not going well, and they slipped home, even if Meng Mingwei was angry again, but the child was wronged outside, and quickly served her a bowl of steaming rice balls. Don't look at the fact that this meal is not pleasant, but the sentence "You eat slowly" mixed in Meng Mingwei's quarrel showed all the hard mouth and distress.
Li Yijin and Meng Mingwei quarreled in **, and said the most ruthless sentence: "You shouldn't be a mother, you shouldn't give birth to me." Meng Mingwei was stunned at the other end of the **, the camera was circulating, and behind her was Li Yijin's award. Although it is only for a moment, the taste is worth savoring for the audience.
From these plots, it can be seen that "Fireworks People" does not take the path of binary opposition, everyone is not only looking for self-motivation to solve the dilemma, but also intentionally or unintentionally derives strength from family and family relationships.
Film and television dramas must have a dialogue with the present. "Fireworks People" provides young audiences with a sample reference of "from living to living", and at the same time writes advice to the elders, and then explains the happiness values with "family culture" as the core. It breaks the creative myth that family dramas only have contradictions and no feelings, and while restoring the original face of life, it establishes a solid emotional connection with the audience, and also makes family group dramas glow with new brilliance.
Wen Xu Xinqiang].