The reason why "Hurricane" can become a word-of-mouth hit at the beginning of the year is due to the excellent script and the excellent performance of the actors. Even in the controversial third chapter, although its strength has diminished compared to the first two phases, the solid foundation of the play still reveals thought-provoking highlights.
For example, "Hurricane" skillfully uses the narrative technique of Spring and Autumn brushwork, which is rich in connotation, and the audience needs to savor it carefully to understand the subtlety. The portrayal of the complex emotions of Gao Qiqiang's character in the play is particularly typical: the seemingly contradictory plot design - Gao Qiqiang will do whatever it takes to protect his son Gao Xiaochen on the one hand, but on the other hand he plans to assassinate him - in fact, it contains a profound psychological analysis.
Gao Qiqiang called Gao Xiaochen a "fool", and mentioned that the 228** incident almost wiped out the whole family, revealing his love and hate for his son. This rich psychological transformation and subtle revelation of the characters' motivations are precisely the uniqueness of the script of "Hurricane", which is worthy of in-depth interpretation and recollection by the audience.
However, this scene of assassinating Gao Xiaochen, staged in front of Gao Qiqiang and Gao Qilan, was actually an emotionally cutting drama carefully planned by him. Its far-reaching intention is to sever the deep father-son bond between himself and Gao Xiaochen, and ensure that Gao Xiaochen can completely get out of the whirlpool of the underworld.
Although Gao Xiaochen has a rebellious and uninhibited personality, he always has a knot in his heart, eager to be recognized by his father Gao Qiqiang. In Gao Xiaochen's cognition, being able to control the Qiangsheng Group like Gao Qiqiang is a significant sign of his father's affirmation. However, Gao Qiqiang remembered his promise to his deceased wife Chen Shuting and would never allow Gao Xiaochen to set foot in the dark world of the Qiangsheng Group.
When the investigation team led by Xu Zhong attacked with a thunderous attack and swept away the crime with an iron fist, Gao Qiqiang was keenly aware of his own danger. In order to protect his family from being implicated, he must take extreme measures to plan an escape. Therefore, Gao Qiqiang secretly instructed others to carry out the assassination of Gao Xiaochen, which on the surface seemed to be a tragic and bitter ploy to break down the relationship between father and son, but in fact, it was to make Gao Xiaochen choose to report himself driven by anger and betrayal, so as to embark on the road of meritorious atonement.
In the end, Gao Qiqiang exchanged self-sacrifice (a certain death situation in the face of a desperate situation) for Gao Xiaochen's possible new life. Behind this seemingly ruthless move, it precisely reflects Gao Qiqiang's complex personality characteristics of "thunderbolt means" and "bodhisattva heart" - thunderous on the surface, but full of compassion and affection inside.
Gao Qiqiang's careful care for Gao Xiaochen is essentially an extension of Chen Shuting's deep affection. In the whole drama of "Hurricane", the emotional entanglement between Gao Qiqiang and Chen Shuting, the eldest brother and sister-in-law, is touching beyond the emotional line between An Xin and Meng Yu and has won deep resonance from the audience.
Although Gao Qiqiang and Chen Shuting have no biological children, it is likely that the two ensured their joint custody responsibilities for Gao Xiaochen through a prenuptial agreement; Gao Xiaochen, as Gao Qiqiang's only son, has become an important link between their emotions.
As Gao Qiqiang's power grew day by day, he always kept his promise and never deviated from his original intention. He has a deep respect for Chen Shuting's love, which is reflected in the details of his daily life. For example, before preparing to meet Li Youtian, when Chen Shuting decisively rejected the original overly formal matching plan, she suggested that Gao Qiqiang replace the tie with a silk scarf to show a more friendly and easy-going side. In this regard, Gao Qiqiang proudly sighed to the younger brother next to him: "Marrying a wife should be like your sister-in-law, with a unique vision and thoughtfulness." This passage not only shows Gao Qiqiang's appreciation of Chen Shuting's wisdom, but also reveals his respect and adoption of his wife's opinions at critical moments, fully reflecting the tacit understanding and affection between husband and wife.
In the eyes of the younger brother, Gao Qiqiang is a man who is afraid of his wife, but he knows that this is actually a manifestation of love. Those subtle details of love, once discovered, are endlessly evocative.
For example, in episode 12, on the night of Gao Qisheng's birthday, when Gao Qiqiang sent Chen Shuting home, there were obvious lipstick marks left on the corners of his lips. This silent proof of their intimacy. Although this scene is not shown in the show directly, the audience is free to use their imagination to fill in the unspoken parts – did they share their passion in the car? The script is wonderful, the actors' performances are also praiseworthy, and the design of the costume is equally eye-catching. Gao Qiqiang and An Xin are both friends and rivals. After the fall of Xu Jiang, Gao Qiqiang turned the tables against the wind and turned into a new evil dragon. An Xin, on the other hand, was suppressed and disheartened.
They met on the street, and their clothes were full of meaning. An Xin is black on the outside and white on the inside, while Gao Qiqiang is white on the outside and black on the inside. This contrast of colors reveals the purity and ** of their hearts. Black and white, one outside and one inside, highlights the incompatibility between An Xin and Gao Qiqiang.
One of the most intriguing details in the play is the change in the color of the main character's clothing, An Xin, from pure white to gray and finally dark blue. These three tones are like a trilogy of delicate reflections of his changing mental state, revealing his gradual evolution from a high-spirited young man to a seemingly decadent but strategic middle-aged man (of course, his "decadence" also contains a performance component of character creation to a certain extent).
The white color symbolizes his once glamorous and righteous image, while the black color is a metaphor for the dark reality he faces when dealing with evil forces. In terms of Gao Qiqiang's character creation, a suit and leather shoes are his signature outfit when he works hard in the outside world, but when he returns home, he prefers to wear a white sweater that symbolizes purity and kindness. Gao Qiqiang under this home image is not only a husband who loves his wife deeply, but also a father who cares for his son.
Gao Qiqiang's mastery of human affairs and sophistication is like a fish in water in social communication, especially reflected in his meticulous care for his family. Jokingly speaking, his speed and passion in the career field are like a storm, and when facing his family, he incarnates as a warm family guardian.
As a crystallization of collective wisdom, film and television dramas have many participants such as directors, screenwriters, actors, costume designers, and photographers performing their respective duties and working together to create the work "Hurricane". In the category of domestic dramas, "Hurricane" undoubtedly handed over a satisfactory answer.
It provides an important inspiration for the creation of domestic dramas: even if it tells a story that evil does not prevail over good, it can give the villain full of emotions and flesh and blood. For example, in the scene where the villain Zhao Lidong** said goodbye to Secretary Wang on the eve of the play, he stood in front of the window and said calmly: "The moonlight in Jinghai is so beautiful." This sentence is deeply touching and comes from Natsume Soseki's allusion in Japanese teaching, emphasizing the beauty of subtle expression of emotion. Oriental cultures, especially Japan, which are heavily influenced by Chinese culture, tend to convey deep affection in a subtle and subtle way. As scholar Edward Hall has pointed out, China and Japan are both representative countries of high-context culture, and implicit expressions of love are seen as a manifestation of beauty.
Wong Kar-wai's "Fallen Angels" has a similar moving line: "It's been a long time since I've been on a motorcycle, and it's been a long time since I've been so close to someone." Although I know that this journey is not far away and that the end will be soon, I feel extremely warm at this moment. These expressions of oriental love often abandon straightforward preaching, and instead choose to use scenes to express lyricism, so that the subtle emotional conception can be deeply rooted in the hearts of the people.
In "Hurricane", Secretary Wang and Zhao Lidong have been with each other for a long time, rubbing their shoulders and relieving their fatigue, and passing on words to do things, if there is no deep emotional connection between them, it seems unreasonable. However, under such a cultural background, the emotional relationship between the two is not explicitly stated, leaving it to the audience to figure it out for themselves. Those who understand can naturally understand it, and the audience who doesn't understand it can also understand it as a pure deep friendship between superiors and subordinates.
It is these well-designed details that give a good play its indispensable charm, and the right sense of artistic proportion makes the plot both deep and engaging, making people want to stop.