, Female group drama and female suspense drama are quite popular. As for the former, a number of female group dramas have been launched this year, such as "Who Says I Can't Get Married", "Twenty Not Confused", "Thirty Only", "He Actually Doesn't Love You That So", etc.; as for female suspense dramas, From small cost to small production to high-quality production, the recent hits of "Skyscraper" and "White Moonlight" are extraordinary from cast to production.
In many episodes, "White Moonlight" is still eye-catching. Because the vast majority of female-oriented dramas on the market, although they are telling stories about women, men are in charge of the series. The gender of a director is not necessarily related to whether or not he tells a female story well, but the audience still expects a female story told by a female director—perhaps the same female director will have some more subtle discoveries. The director of
"White Moonlight" Liu Ziwei, his film debut "My Heart Jumps", tells the story of a young girl's first love story in a gentle and delicate way, reflecting the good image taste and the control of emotions with images. "White Moonlight" is still impressive in terms of image performance, and the protagonist's anxious inner world is transmitted to the audience through light and shadow.
Unfortunately, the story told in "White Moonlight" is still a bit old-fashioned.
Architect Zhang Yi (Song Jia) is a perfect woman, with a perfect career, a perfect family, and a seemingly perfect husband. Her husband Zhang Xin (Yu Entai) was originally an architect, but after having a child, he resigned and became a full-time father.
But one day, an ambiguous WeChat popped up on Zhang Xin's phone, breaking the peaceful life. Zhang Yi suspected that her husband was cheating, and once he suspected her, he couldn't stop, and fell into a panic of suspicion, tension and nervousness.
Frankly speaking, if this story were to be broadcast last year, the ratings might be higher. This year, the audience has seen stories of the perfect woman collapsed because of her husband’s derailment through the Korean drama "The World of Couples" and the domestic drama "Thirty Only". "White Moonlight" is still acting like this, which is not just a problem of aesthetic fatigue. , But a kind of creation-oriented "deviation" (not to mention that "White Moonlight" is still a female director): You can write about male derailment, but can you let our perfect heroine collapse without moving, as if the husband derailed, their world It's over?
Zhang Yi in "White Moonlight" is even worse. As an excellent architect and a professional woman, she found the ambiguous WeChat on her husband's mobile phone. She even lost her mind at important meetings and even offended a major client.
In order to "catch the rape", she locked her sleeping little daughter in the car. After her daughter woke up, she couldn't stop crying. It took a long time for her to recover. When she saw her husband hugging other women from a distance, her emotions broke down immediately. The car screamed wildly, terrified her daughter...
Song Jia's acting was so good, and it made the audience more and more embarrassed: Can it be done?
Zhang Yi is the backbone of the family's economy and has an excellent career. If he finds that his husband is cheating, he should quickly find a lawyer, find evidence, stabilize his property, and kick the man. If "White Moonlight" is filmed in this direction, it will provide a woman who has suffered betrayal in marriage with the greatest benefitDivorce strategy, then it will be much stronger.
But "White Moonlight" is still on the old road. It's not that you can't shoot like this. In reality, there are indeed many elite women who are emotionally fragile. But film and television creation not only presents "what it is", it should also express "what it should be." A "small third" can defeat elite women, and the values behind it are quite old: women's perfection is based on men's non-derailment, women's plight comes from men, and women's individual values depend on family values.
When Zhang Yi was in trouble, a "sister" Yang Yan (played by Liu Mintao) who met by the side appeared. When they first met, Yang Yan opened up to Zhang Yi: Yang Yan had two marriages. The first marriage was due to her husband's domestic violence. After the divorce, he took the children and married a husband. He thought he would have a happy family, but the current husband cheated again. Yang Yan has been comforting and encouraging Zhang Yi, in order to help Zhang Yi "fight against Xiaosan", he has been busy with the same enemy. The previous female emotional dramas of
were keen to portray "fire prevention, anti-theft and prevention of girlfriends". The recent female dramas have finally turned around, consciously highlighting the sisterhood between women. This is the manifestation of the progress of values. Because in the face of strong male power, the union of women is always stronger than the internal division of women. It's not about "anti-girlfriends" or "fighting small three", but men should control themselves.
As a result, the final development of "White Moonlight" was beyond the expectations of most viewers-Yang Yan was the "Little San", she took the initiative to approach Zhang Yi with all her heart, just to get Zhang Zhangxin divorced, and good doves occupy the magpie's nest. My son has a complete family. Yang Yan is an upgraded version of Ling Ling ("My First Half of Life"). She believes in the wrong traditional concept: a woman's greatest achievement is to run a good family and give her children a complete home.
On the drama of reversal, the purpose of "White Moonlight" is achieved. No, Zhang Xin's derailed target is Yang Yan and he is the number one in hot search. The topicality is high, but the sisterhood of women is reduced to "fire prevention, anti-theft and anti-girlfriend."
"White Moonlight" is a sincere work. Whether it's the video style, the fluency of the story, or the performance of the actors, the hit Korean drama "The World of Couples" that benchmarked this year is not a high climb. It's just that such a female story told by a female director does not see a clear and conscious female consciousness in terms of values. Although the main creator mentioned in the interview that the focus of the show is to show the plight and awakening of professional women, the problem is that the plight of women can't be expressed without being caused by the "small three"? Women have to fight back "Little San" to awaken themselves? When mainstream female film and television dramas are all in this style, it reflects that the creator's imagination for female stories is too single and thin.
(responsible editor: Liu Jiaxin_NBJS11395)
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