Article丨Dugu Island lord
If today’s post-00 generation young people still remember the name Shi Lan, 80% of it is not because of the various domestic TV series she has participated in in recent years, and it is not even possible that it was from the one she played in the 1990s. The most likely series of movies is the cover of the February 1993 issue of "Popular Movies" seen from a webpage or a push. At that time, Shilan, who was 25 years old, had pure eyes and drooping eyes and plump breasts. Half exposed, it became a stunning scene in the visual history of Chinese film and television nearly 30 years ago.
People who grew up in the 21st century should have a hard time imagining the shock that this magazine brought to readers. In the social atmosphere where there is still a huge psychological burden on “sex”, Shi Lan’s “sexiness” is not just a physical stimulation of the senses. It also bears the wave-breaking temperament that has continued to move forward during the reform and opening up period. At the same time, it is also a representative of the more independent attitude of Chinese actresses mainly born in the 60-70s.
Shi Lan
Shi Lan, who was born in 1967, is actually not easily misunderstood. She has a place in the film industry only by physical display. Her father worked with Xia Chun, one of the four major directors of Beijing People's Arts. A dramatist, she herself also graduated from Beijing Broadcasting Institute. From the appearance of
, Shi Lan has the conditions that seem to meet all the "goddess" imagination today: a strong frame, excellent measurement ratio, straight long legs, sharp edges and corners, and a complex appearance that is both charming and sincere. Having these alone can only make a vase. For Shi Lan, it is her maverick temperament in her works that truly impresses her on the map of Chinese movies in the 1990s.
Shi Lan received two Hundred Flowers Award nominations shortly after her debut in 1989 with the TV series "Wang Sima's College Career". Both films were directed by the "fifth generation" ghost director Zhou Xiaowen, "Youth Without Regret" (1991) Mai Qun, the nurse in Zhong, was recommended by Ma Weidu to the screenwriter Wang Shuo when Shi Lan appeared in "Hippocampus Song and Dance Hall". In addition to the performance, Shi Lan had also participated in the script work of the film, and even recommended it to the director. The famous actor Zhang Fengyi plays the leading role.
"Youth without Regrets" (1991)
Mai Qun has a silent monologue of various emotions facing the camera at the beginning of the film. The front face is close-up, first showing Shi Lan's wide cheekbones and bright eyes. There are many shots in the film showing the healthy and realistic body of Shi Lan, who is youthful, under the trendy clothes of the time, and also presents Mai Qun's kind and pure personality with little words. When
recalled this performance many years later, Shi Lan himself even felt that her original performance was too young, but it was this kind and kind mortal image established by the choreographer and director that made "Youth Without Regrets" in the noisy era. Naturally, it presents a kind of sexy that is unique to the time. The house that is about to be demolished in the film is in sharp contrast with the youthful wheat in the house.
In the early stage of her acting career, Shi Lan’s performance had a strong natural meaning, but it seemed to have been fully used by Zhou Xiaowen to form a unique type of female image in his films with both physical beauty and pure soul. Uneasy to be "appreciated", "Youth without Regrets", "Youth Impulse" (1992), which was nominated for another Hundred Flower Award for heroine, and even their subsequent TV series "Legend of Lü Hou", are like this in "Youth Impulse" Effie, played by Shi Lan, also looked at the world with blank eyes, step by step into the whirlpool of fate.
"Youth Impulse" (1992)
"Legend of Lvhou", the supporting actor Madam Qi, is like Shi Lan's performance improvement performance in the late 1990s, she is light-weighted, and at the same time with the drama's anti-melodious documentary character Quite a fit. Zhiyun in "Dahongmidian" (1995) directed by Huang Jianzhong also shows the dislocation of physical/mental output and acceptance of the performance.
"Dahongmidian" (1995)
This film, which was only seen with the public many years (2004), has a "erotic" meaning in many publicity links, and it directly refers to the heroine Shi Lan and the 90s it represents The sexy image of the national film actress, but the situation presented in the film is not so single. The weight lifting in Shi Lan’s performance can be seen from the first scene of riding a carriage, and the issue of "sex" is not entirely focused on the performance. In itself, it is the clue and ideology of the overall narrative of the film.
The character image of Mrs. Qi in "Legend of Lvhou" is completely different from "Dahongmidian". As a historical costume film, it obviously lacks 9The critique of national character derived from sexual liberation in the popular domestic dramas of the Republic of China in the '0s. In the bridge segment showing Madam Qi's deep intentions, Shi Lan often seems to consciously curtail the sinister look that such characters are easy to show, and replace it with A virtuous gesture that wants to cover up.
"Legend of Lvhou" (1998)
, which uses character psychological logic instead of typological logic, is exactly what the previous article said. It not only shows the authorship thinking of the director Zhou Xiaowen for this series, but also Shi Lan as an actor. Examples of actively fading the halo and stereotypes caused by public image.
The traces of "Zang Zhuo" in Shi Lan's early performances are not obvious. During this period, after gradually getting rid of his true colors, this instinctive progress gradually appeared. It is also impossible to compare Shi Lan with the sexiness of Hong Kong in the same period. Actress is an important point to examine in the same position.
Another important film by Shi Lan in the 1990s was "The Defense of Passion", which was nominated for the Golden Rooster Award for Best Supporting Actress. In the film, Lin Xiaoguang showed a natural indifference to her, completely separated from the public's "youth", "sexy" or "sexy". The stereotype of "dynamic beauty" has a strong female subject consciousness in the role, but the external surface image is more realistic.
"Passion Defense" (1997)
, to a certain extent, can correspond to Ye Erniang in the 2003 drama "Dragon Babu", which is done by abandoning the most important curing angle chromatography system in the sense of traditional star system. Performance. After the new century, Shi Lan has appeared in very few films, and mostly appeared in dramas such as "Let's Get Done" (2005) and "Gone with the Wind" (2012), and mainly guest appearances and supporting roles.
occasionally has stunning images such as "Gone with Fire" (2013), etc. The idol trend is updated, as a sample of intergenerational symbols, Shi Lan, from movies to TV series, and even more appeared in the collective memory of entertainment history and fans. In, to some extent, she shows her own low-key.
"Beacon of Fire" (2013)
However, from the performance of her public participation in activities in recent years, Shi Lan is another outspoken woman who shows very outspoken features, which seems to be the same as she created when she first emerged 30 years ago. The screen image is not much different.
In the era when the characterization of Chinese film and television performances has become easier again and again, this kind of true temperament is the same as the many non-sensational but equally true characters that have been portrayed. It is her unique temperament that witnesses the changes in the silver/film world. Being scrutinized in the aesthetic sense, it eventually evolved into a unified artistic personality. Although Shi Lan is far from being an award-winning first-line star, her acting career is sufficiently meaningful because of this evolution.
