text/Ma Qingyun
In the past two days, there have been many discussions around the movie "Zhu Xian". My opinion has been clearly written in the commentary of the movie "Zhu Xian" yesterday: There are several starring actors in the film. The acting skills are remarkable, and the special effects of the movie are also done relatively well. However, the original work has no air at all and lacks basics. The realistic temperature of the movie itself, which caused the "content vacuum" of the movie itself, is the chief culprit for its degeneration into a bad drama.
In the past few days, I have seen many critics of actors, producers, and even scriptwriters. Few voices pointed out that the original novel "Zhu Xian" was too incomplete and not suitable for adaptation into a movie. Scolding the street itself is not a good discussion attitude. Perhaps, this group of "discussors" have no intention of discussing at all. The only way for them to participate in the film is to find someone who is easy to scold and won't be scolded.
You pay attention to this sentence, "It is easy to scold and will not be scolded." Therefore, among the voices of scolding actors, they picked some soft persimmons with a small number of fans, and picked some fans who were strong in combat. In fact, many participants in this type of behavior are very unwise. The even more ridiculous voice is that the screenwriter is making up indiscriminately. The screenwriter of
"Zhu Xian" is Shen Jie. He wrote "Chicken Feather Flying to the Sky" and adapted "White Deer Plain". This is really an interesting screenwriter. "Chicken Feather Flying to the Sky" is a relatively good original script for a TV series. The TV series "Bai Lu Yuan" is adapted from the serious literature "Bai Lu Yuan", and its quality has also been recognized by the industry. Shen Jie, there is still a level, but more eager than anyone else for screenwriting fees. Why does
say that? Screenwriter Song Fangjin wrote a book called "Letter to Young Screenwriters." The middle-aged "old screenwriter" wrote in this book that the screenwriters try not to take on the work of adapting online novels into film and television dramas, because it is difficult to please. The vast majority of online novels are not suitable for adaptation into film and television dramas at all. Forcibly adapting, you can only destroy your own screenwriter brand.
Teacher Shen Jie’s adaptation of "Zhu Xian" this time actually broke his own brand. The original work is too bad, and the screenwriter needs to move too many places, not only the storyline is as simple as the story, but even including the character and specific lines, and even the layout of the bridge segment, must be revisited. But, you give Nuwa a pile of mud, and her old man can't pinch Optimus Prime. The raw materials are too bad, Shen Jie tried his best.
A new phenomenon in the last two years, the audience finally can't bear the film and television dramas adapted from online novels. Especially when it comes to movies, those Internet novels that are so popular are adapted into movies, all of which are popular and well-known actors, but they are both Waterloo at the box office and word of mouth. There is no exception. If there are exceptions, I hope readers' relatives will leave a message to tell me, let's continue the discussion. Why doesn't
have a successful network reform movie? Because the movie language is the language system of the big screen, it will infinitely magnify the defects in the story content. Internet novels like "Zhu Xian" have obvious flaws. In the movie version, screenwriter Shen Jie has tried his best to help avoid it, but he is still unable to recover. A dead horse can be a living horse doctor, and there is no possibility of curing it. So, let’s talk briefly about the fatal problems in the novel "Zhu Xian"? Are these problems a common problem in fantasy novels (disease, cancer)?
Comrade Xiao Ding’s novel "Zhu Xian" has a common problem with other Internet fantasy novels, that is, the core of the whole story, which has no nutritional value. Xiao Ding intends to learn (many content cannot be defined by learning) Mr. Jin Yong. However, most of Jin Yong's martial arts works insist on writing within the historical dimension, allowing the characters to live in a "traditional ancient Chinese society".
This means that in most of Jin Yong's novels, the characters can easily establish emotional connections with readers. The characters themselves, standing in the historical dimension, do things that can better resonate with readers. In this way, the connotation value of the novel itself is not empty, but with the characteristics of Chinese traditional culture, and it is also the family and the world. Because the characters are relatively real, the emotional core is more powerful.
Of course, even if Mr. Jin Yong writes novels within the historical dimension, he actually faces some controversies raised in serious literature, thinking that he is too good for readers, but ignores the authenticity and seriousness of literature. In many of his review works, Wang Shuo was blunt, saying that Jin Yong's things were nothing more than oral pleasure.
Xiao Ding's "Zhu Xian" can't even talk about oral pleasure. Oral pleasure, talking about the writing of novels, is fluent. Xiao Ding's writing is very lame, like a stutter. This level of writing is actually very suitable for middle school students, especially children who have graduated from junior high school. This group of children, now it is estimated that Jin Yong will feel confused. This is a serious degradation of the Chinese language among certain groups.
However, this is not the fundamental problem of Xiao Ding's Zhu Xian. Its fundamental problem is that there is no sense of reality at all. Mr. Jin Yong still made up stories within the historical dimension, and Xiao Ding’s "Zhu Xian" doesn't even have this last dimension. All the characters live in an illusory space. This kind of illusion of the character's survival background makes it difficult to shape the reality of the character's fate. This is like saying that a batch of dolls clamored vigorously, I am real, I am real, I want to move you, see how touching I am. Normal people can only say one sentence: go to you.
For the original novel of "Zhu Xian", "Fuck you" is the best irony. If it is too much, it can't be said. Otherwise, it's the same quality as the classmates who like "Zhu Xian". What can you say about a novel with no sense of reality? There is no "will", just like people have no heart, what literary and artistic qualities are they still talking about? These, literary general knowledge, many high schools can teach, the university Chinese department, is the focus of literary theory courses. Unfortunately, many readers of "Zhu Xian" have never attended high school or university.
So, what kind of pleasure does "Zhu Xian" pursue? Fingertip pleasure. People who read "Zhu Xian" often read ten lines at a glance, just to join in the fun and flip through it. This requires that the creator must write the smashing hydrology. If you don’t write enough water, this group of readers will find it hard to read, and if you are not fast enough, they will feel that you are not the same. Therefore, the space bar and the enter key are the usual tricks used in such novels. They can't wait for a word to hit enter. Serious novels, one paragraph is for every word. Nowadays, some information flow articles in the world are also a sentence and an enter key. In fact, they are still the way of online novels, and they are just like this kind of readers. The flow of
can be directly cashed in. From the perspective of making money, they really work. However, art criticism obviously cannot be said in the dimension of making money. Speaking of making money, that is a business business. Speaking of art is the duty of my generation. Network novels are adapted into movies, and the audiences they face are more artistic. In addition, as long as the movie is performed with real people, it will inevitably face the "criminal" of reality. There is no real sense in these inhuman works. It is inevitable to directly show up.
Internet novels have always been a voice. Three or five years ago, Internet IP was very popular. why? Because many commercial organizations are hoarding a lot of "this stuff", they have to do it and then sell it. In the past two years, the film and television dramas of the network reform have hit the streets one after another. Filmmakers following the trend began to re-examine these "things". Film scripts should still be handed over to professional film screenwriters. Network novels are adapted, and they are born with disabilities. Only in this way can Chinese movies become healthy.
