Let's talk about the actors who are half from the Deyun Society's sitcom "Washe Jianghu".
Intuitive feeling is suitable for casually looking at the next meal, some places are deliberate and old-fashioned, the overall is relatively flat, there is nothing hilarious;
If you want to benchmark the "Wulin WaiChuan" that the director has participated in before, the difference is not a star and a half.
(Personal subjective feelings, if you feel particularly invincible and hilarious, no bar, bar is your right).
First, the royal palace of the taste of the wet market: the success or failure of the humorous joke model.
The emperor is unhappy and often wants to escape from the palace to work in Vasheli to meet idols, and this setting between jokes and nonsense is the precursor to laughter.
The opening chapter of the palace introduces why the little emperor is not happy, and the strange combination of words "your second aunt and lady" in the play often jumps out.
The source of the play's concocted laughter is, on the one hand, to imagine the grand narrative in the way of small rural people, similar to "the queen and the lady can probably eat two bundles of green onions per meal."
The queen's opening was actually "the small tree is not repaired, not straight, and the person does not repair the chirping", and the eight or two on the side also forked "How does the empress dowager write this gong chirping".
No, no, no, laughter from the cracks of contradiction.
On the other hand, it is the deconstruction of if there is none.
In the play, the so-called "loyal minister" Wang Zhongwang came to advise His Majesty the Emperor every day, and as soon as he came, he hit a pillar.
Your Majesty takes a bite of dim sum, Wang Zhongwang: The old minister only drinks porridge every day, and his appetite is not good, you are a emperor who has destroyed the country. (There are also very routine reversals in the follow-up)
Wang Zhongwang quarreled with the emperor while hitting the pillar, and the chicken flew and the dog jumped in the vegetable market.
The emperor said why don't you go outside and crash into it? No pillars outside?
King Wang Zhong bites to death, just you have a pillar here.
It's ridiculous.
The stories of the loyal courtiers and his courtiers usually appear in a serious and far-reaching canonical mode.
However, the play is presented in this kind of nonsense that street scoundrels come to hit the pillar every morning, middle and evening, and (consciously or unconsciously) invisibly dissolve the meaning of the "serious narrative".
This idea and model of making jokes is no problem, the problem is that the finished product effect is not funny enough.
The greater limitation of the play may be that after the nonsense and deconstruction, there is no next step of reconstruction and reconstruction.
Hurriedly go to the washe to walk into the degree bar, the front and back laughter point extension mode, are faintly like the convergence of common stems; (no accusation is not the original meaning), but in the statement of the perception of the bland.
Second, the integration of personnel integration advantages.
From the perspective of characteristic style, "Washe Jianghu" not only builds the sitcom mode, but also integrates the characteristics of traditional cross-talk and music art.
There is no waste of some of the actors' own efforts and pre-"work".
This characteristic is first reflected in the background setting, the main body of the story is set in the hook bar was set in the washe, and the story advancement revolves around singing on stage.
The part where Meng Hetang began to sing is the most impressive section of his bridge so far.
Meng Hetang plays Lan Ling, the appearance of this costumed prince, compared with other ancient puppet dramas, if the appearance is compared, there is a high probability that it will be shouted "dragged out".
But he appeared in this voice, and the kung fu behind it suddenly made people look up.
Second, the rhythm and brittleness of the characters' lines.
Qin Xiaoxian, Meng Hetang, Cao Heyang, Li Hedong and many other Deyun Society people, the lines are very listening.
The frequent smooth lines and laughter point implantation mode are suspected of routines, but they are relatively smooth.
Third, each episode has a review of the previous plot at the beginning, and for a while I don't know whether this is a number of Noble slips or a fixed poem, in short, it is quite suitable for this group of actors in this drama.
Among them, the heroine's performance style, line strips, and these are not too much of a road number, at first glance will be faintly a little divided.
But in the strange nonsense story that follows, the problem of "style road number is not one" does not seem to be big.
Third, a few regrets.
Let's talk about the point of regret.
Some of the laugh point designs are really blunt and old-fashioned.
For example, the male and female protagonists' clothes are both glued and hung on the wall, and the male protagonist tries to help the other party get out after stripping down, such a plot is very "shrouded" whether it is when the love and feelings are happy and the enemy is looking at it, or when the laughter is watched.
The director's resume says that he was once a member of Shang Jing's director team and participated in "Wulin Waichuan", compared with "Washe Jianghu" and the previous "Wulin Waichuan", it is also a model for a group of people to open a store, and the effect difference is slightly different.
First, the characteristics of group portraits are not clear enough, the second is that the grasp and irony of common problems are not sharp enough, and the third is that the density of laughter points is not high enough.
Let's start with group portraits.
"The Tale of Wulin" with the Treasurer of the Tongfu Inn, the anti-"jianghu narrative", the thief Saint Lao Bai who is hidden in the inn, Xiao Guo "overwhelms the mountains and the sea", Xiucai "Once Knew", Peerless "Let Me Come", the group portrait is vivid.
Even the characters who come to make cameos are mostly impressive.
In contrast, the Vasheri people, although there is a professional division of labor, but the personality characteristics are not obvious.
The cook is bleeding, the treasurer's once dart, and a girl can measure words, and a few episodes can receive this information, but these are all background introductions, and it is difficult to call it a real character building.
What are the personality characteristics of the one who wrote the script? Is this cook as fresh as Li Dazui? What did that soy sauce-like girl do for a few episodes?
All a bit vague.
Of course, the length of the play and the volume of the content are different, and the character modeling of "The Tale of Wulin" has a long volume of eighty episodes, while at present, Vasher has only broadcast 10 episodes, and each episode is only half an hour.
With different volumes, should the group image setting also be simplified?
Next, we will talk about the capture and expression of universal phenomena.
Each episode of Wulin Wai Chuan has a moth, sometimes it is purely someone who is doing a demon, and sometimes it is set for a universal phenomenon.
For example, Tong Xiangyu heard that the children of the neighbors won awards in the piano and chess calligraphy and painting competition, and after being stimulated by Lao Xing's "so-and-so please let everyone eat something", he forced Xiaobei to learn piano and chess calligraphy and painting; but she sneered at the mud she really liked and strictly prohibited it.
Behind the chaotic laughter is a precise grasp of a common phenomenon and common psychology: excessive anxiety and prejudice of parents.
There are many similar examples, which is why many years later, wulin waichuan can often rush to the hot search because of the "forward-looking response" to new events, and has been repeatedly ridiculed as "prescient".
The creator did not expect such an effect at that time, but the so-called universal phenomenon is something that happens repeatedly in life.
This ability and ingenuity to grasp contradictions from life, express them in a comedic way, and reflect reality again seems to be somewhat absent in "Vasher Jianghu".
Of course, if it is only when it is a "cross-talk opera background" of the next meal drama, "Washe Jianghu" is generally passed;
As for "the next blockbuster out-of-the-loop sitcom", that is probably not a chance.
If it is regarded as a new attempt by the "cross-talk group" to move across borders, the direction may not be worth encouraging.