's " longing for " in 1990 set a million viewers in the year it aired.
Later, a large number of family ethics dramas began to appear. After " Golden Wedding " premiered on major TV stations in the second half of 2007, it achieved an average rating of over 13%, followed by "Wang Gui and Anna". achieved good results.
wrote about the origin of "Wang Gui and Anna", the screenwriter 66 had this description: "The previous generation, how did they stay together for the rest of their lives? They didn't say &39;I love you&39; , they say &39;I have feelings with her.&39;They don't say &39;husband and wife&39;, they say &39;Xiao Zhang, Xiao Li&39;. 'Entering the marriage hall' is called 'organizing a family'.
On the other hand, today's modern people's love for each other, the sea and the stone are becoming more and more like a commercial war movie, even emotions are still up for sale, looking forward to selling in the bull market To the highest point.
and it is precisely you and my parents, who live in a restrained era and are ashamed to confess. They use the most plain language to write true love."
But this kind of love is not like the description of Soviet novels It was so vigorous, and it was snowing in the spring. But with a hint of fireworks, the ups and downs, conflicts and quarrels of ordinary marriages and families are vividly reflected in these two dramas.
However, in addition to being a necessary condiment for family dramas, the conflict and fusion between characters in TV series can be traced to the result of the multiple effects of culture, class and history behind it.
"Golden Wedding" and "Wang Gui and Anna" have one thing in common: by connecting the trivial matters of ordinary people's life, it expresses a simple civic culture.
They turn the narrative to the general public, recording the daily trivial matters of ordinary people: stove fires in alleys, banging of pots and pans, public water rooms and toilets, noisy factory workshops, hospitable neighbors, The objects of the times construct the collective memory of people of that era. The life setbacks experienced by the protagonists of
: issues such as quarrels between mother-in-law and daughter-in-law, children's education, and middle-aged marriage crisis are also true portrayals of all ordinary Chinese families.
In "Golden Wedding", during the three-year natural disaster period in 1961, Tong Zhi and Wen Li had a fierce quarrel because their daughter Yanni ate a few mouthfuls of sour white rice. Tong Zhi blamed Wen Li for letting her children eat spoiled rice. Wen Li complained about the white rice that Tong Zhi finally got, and told Tong Zhi to eat it several times. But Tong Zhi not only didn't eat it, but let the rice go sour for a long time.
In fact, Tong Zi is also hungry, but he is just reluctant and wants to keep it for his wife and children. In the end, the two of them choked up their tears and took half a steamed bun given by Master Tong Zhi and ate them relatively silently. The lines of this clip of
do not mention the era, but let the characters intervene in the social environment at that time extremely organically and effectively, which not only skillfully brings out the era, but also fully demonstrates the harmony and warmth of the family.
Whether it is "Golden Wedding" or "Wang Gui and Anna", in the shaping of characters, they all emphasize opposition.
is rustic, the combination of "Wang Gui" with a big Bangzi accent in Henan and "Anna" with the style of Bourgeois put together a family farce that combines local and foreign.
Similarly, Wen Li, who reads Soviet novels, and Tong Zhi, who loves to read "Fengshen Bang", are typical representatives of petty bourgeoisie and commoners.
For "Wen Li and Anna" who grew up in the city and were at the forefront of the era, read "Anna Karenina", wear Bragi , perm hair, dance ballet , watch movies , drinking coffee, and obsessed with cleanliness, this kind of life is in line with the mood of elegant life, and it matches their status and identity of the urban petty bourgeoisie.
However, their other half is Tong Zhi from the working class, and Wang Gui, a poor and lower-middle peasant from rural Henan. As representatives of the workers and peasants,
have all the qualities that petty bourgeoisie dislike: they don't understand the taste of life, they don't pay attention to personal hygiene, and they have a rough and unruly temperament. But that's how "coffee and bigOnce the "garlic" combination met, a wonderful chemical reaction occurred.
On the one hand, all the styles of life required by the petty bourgeoisie culture must be based on a certain solid economic foundation, but when Wen Li and Anna get married, the life style will be different. The pressure and predicament gradually overwhelmed the comfortable utopian spirit in their hearts. For them, life gradually lost romance and fantasy, and was occupied by the reality of firewood, rice, oil, salt, and childbearing. At the same time, facing the married life When their abilities were tested, their little qualifications of not eating human fireworks were defeated by a small porridge and a meal, and they had no power to refute.
When her mother-in-law came, Wen Li, who had never been in the kitchen, thought about the decoration of the kitchen. She didn't know anything, and even boiled the rice, which made her mother-in-law dislike for a while.
So, she began to compromise gradually, but not completely, but adopted a compromise strategy: Wen Li walked into a place with a strong smell of fireworks. In the kitchen, but still wearing a Bragi or a red woolen coat. Anna lowered her arrogant head and coaxed Wang Gui to use the water.
On the other hand, Tong Zhi and Wang Gui, who were workers and peasants, were in Wenli and Anna Under the "transformation", he gradually got rid of some innate bad habits: going to bed without brushing his teeth, washing his feet, going to bed without taking off his clothes, eating and snorting, etc. Even in the process of correction, paying attention to life hygiene has become a reality.
The class differences and conflicts between the two couples due to their different growth backgrounds and economic conditions, but in the understanding and running-in of both parties, they have completed a harmonious neutralization and dissolution. In the
TV series , Wenli and Anna jumped out of the inherent space, they both have formal jobs, Wenli is a primary school teacher, and Anna is an accountant in the factory.
Moreover, they have good achievements in their careers, which can guarantee them Economic independence, thereby establishing their right to speak in the family, subverts the traditional Chinese moral concept that women must be family-centered and tied to their husbands and children.
In "Golden Wedding", Wen Li When my mother-in-law came to Beijing for the first time, she complained about Wenli, saying that as a woman, cooking is her rightful duty, and she should not let a big man intervene in housework. Advocating equality between men and women , there is no distinction between what gay men should do and what lesbians should not do, she now has the same salary as Tong Zhi, and they are equal in economic and social status.
Chinese women in the new era Begin to challenge the authority of the patriarchal society, and declare the rise of women's status through the mastery of the right to speak. Correspondingly, it is the restriction of patriarchal rights and shows a high degree of recognition of the status of women. Women are demanding: women have to pay for men, Women's suffering is compensated by social praise. Therefore, men occupy an absolute position to be served.
However, Tong Zhi and Wang Gui in the TV series are the exact opposite of the male image in the patriarchal culture.
They are mild-mannered, able to endure the willfulness of their wives again and again, and take the initiative to assume their responsibilities as husbands and fathers.
When Wen Li was pregnant with her first child, it was Tong Zhi who was busy, "asking for orders".
When Wen Li complained about not having a son as she wished, Tong Zhi comforted her, as long as the child and you are healthy, she will be satisfied.
Similarly, when Anna was pregnant, she wanted to eat bananas, but the price of a pound of bananas was half a month's living expenses. Anna was reluctant to give up, but Wang Gui insisted on buying the bananas and watched Anna happily eat them. .
The abdication of patriarchy does not mean that women completely overpower men and radically subverts the status of men. Instead, it fleshes out, humanizes, and fleshes out the traditional Chinese male image, so as to get rid of the stereotype of exploiting and imprisoning women. Impression , with a new respect for gender equality and maintenance of harmony.
In today's society where love is externalized, painful, and consumerized, the love that sticks to each other and grows old in "Golden Wedding" and "Wang Gui and Anna" is particularly valuable. Tong Zhi and Wen Li in
, Wang Gui and Anna, after years of tempering and the running-in of life, they gradually entered the middle-aged with a successful career, and then entered the old age of mutual understanding and mutual support.
is full of life without losing romantic energy.
looks forward to more excellent TV series like "Golden Wedding" and "Wang Gui and Anna" that tell the life of the common people, extol the traditional Chinese virtues, and resonate with the spirit of the public.
