Following last year's word-of-mouth drama "The Silent Truth", "Gold Rush", which was led by Liao Fan, was finally broadcast in the "Mist Theater" after experiencing a sudden withdrawal storm. However, today is different from the past, the signboard of the peach "Mist Theater" has been "smashed" by the "Octagonal Pavilion Mystery Fog", "Fatal Wish", "Who is the Murderer" after three consecutive "smashing" has lost its glory last year, when the word-of-mouth effect of the series of works can no longer be counted on, Liao Fan can not drag Chen Feiyu is particularly worrying.
Fortunately, it seems unexpected but very reasonable, from the perspective of the first two episodes, the Berlin film emperor Liao Fan and the leader of "Arthur Literature" Chen Feiyu, plus Su Ke, a senior teacher of Chinese opera who has once again attracted attention with the role of "Dajiang" in "Sweeping The Black Storm", and Lu Xiaolin, who have excellent performances in "White Night Pursuit" and "The Silent Truth", have not been able to drag the writers and directors of "Gold Rush".
Given that the only work of the screenwriter of The Gold Rush on Douban is the 5.2-point "The Legend of Wu Meiniang", the director's past record is 6.0 points, 3.7 points, and 3.9 points, which is almost difficult to criticize.
What is the most important thing in a suspense work? Personally, I think it is logic, a fragmented analysis, a complete system and a calm and rigorous logic, the main creation for outsiders to "weave" a large net for the people and the audience in the play, so that everyone can trace the source, peel away the cocoon, and finally pick the fruit of the truth while feeling the shock of emotions and even the three views.
And in the humid and hot tropical rainforest of "Gold Rush" and the riverside of the Simuchang Gold Rush District where various forces are intertwined, the cutting perspective chosen by the main creator is like a big knife, suddenly chopping apart the mess of various characters and plot lines from it, each character has its own "little nine-nine", there are hidden feelings behind everything, and all the clues are instantly confused and twisted.
Each character and event that appears in front of the audience rotates and jumps and closes his eyes, emphasizing "I must remember me, I am a knowledge point, and I will test it later", but when the camera repeatedly jumps between parallel story lines, it cannot see the main creator's thinking and logic, so there is only chaos under the dark dark green picture.
The river section and the river section tear each other apart, the river section tears each other apart, and the gold mining company, the mysterious gold dealer "owl" and the ordinary smuggled gold smugglers tear each other apart;
Chen Baojin returned in order to find out the truth about his brother's disappearance and came to the section of the river in Wu Jianchao;
Between Wu Jianchao, Ah Qiu and Lao Shan, who wants to annex the section of the Wu Jianchao River, there is a love triangle between the deceitful and deceitful, each pregnant with a ghost fetus;
Alai, who is in the same room with Chen Baojin and Zhao Shengli, is the four-wood field version of "Mulan", which seems gloomy and cold, but in fact, she takes on the humanoid Siri of two roommates with her own strength, and has to answer questions;
Chen Baojin went to find Ah Qiu's lost child and ended up getting involved in the open and secret struggle between Lao Shan and Wu Jianchao, and was cut off a finger in public...
However, relying on a "chaotic" word trick, can it create a strong sense of suspense that the creators expect the audience to feel? I'm afraid not.
Just like "Octagonal Pavilion Mystery Fog" and "Fatal Wish" chopped up the clues and thrown them out to let the audience play the puzzle and the result was "sprayed", the current audience has also been different from the past, from chopping to one-size-fits-all cutting in half, in fact, there is no improvement in essence, it will only make people feel as if they have fallen into the dog fighting field, and all the evil people "bite" to the sky.
However, under the wild environment, scenes and settings of the gold mining district, as an audience, I really feel quite fresh, and at the same time, I feel that after all, "rain I have no melon". This kind of audience position of watching the fire from the other side will further increase the difficulty of the ending, and if you want the audience to really touch in addition to the development of the melon plot, either from the general experience or from the empathy.
For example, Zhu Chaoyang, who represents "pure evil" behind Zhang Dongsheng in "The Hidden Corner", such as Jiang Yang, who uses himself as a candle in "The Silent Truth" to illuminate the long night of difficulty, and xiao Heyun and Li Shiqing, who experienced a cycle of explosions again and again in "The Beginning", who did not change their original intentions and became more and more fiery, although the story background and character settings are different, they all make the audience feel that their hearts are "pinched" from different angles and depths that vary from person to person.
In short, it is "poked hard".
In contrast, the indistinguishable environment of "Gold Rush" and the tone of "all evil people" can easily limit the expandable space of the story. In the well-informed "Mist Theater" target audience group, no matter how it flashes and moves, it is at risk of falling into the cliché. Not to mention that at the level of "The Legend of Wu Mei Niang", "talent" has even the possibility of pulling its own eggs and causing a direct collapse.
Probably until Peach loses money and is willing to give up relying on "knife and axe cutting" to create a superficial sense of suspense in the early creation, the "Mist Theater" can really stand up, hoping that Peach and we can wait for that day.