In watching "Embroidered Spring Knife" at that time, the sympathetic Wei Zhongxian first appeared and played against Shen Lian, who was dressed as Zhang Zhen, and at the time of life and death, the words fluctuated, the laughter was fluttering, and the candle shadow was as unpredictable.
Later, when playing with Nie Yuan, the mood was more stable, and the conversation changed style, steady and smooth, almost no ups and downs, and the overall situation was in the palm of his hand.
At that time, I was slightly stunned, "This tone is familiar! ”
Watch the cast: Oh, Mr. Jin Shijie!
Why react?
Because I always felt that Mr. Jin Shijie should be the Wei Zheng in "The Rule of Zhenguan", who is upright and upright, almost pedantic and talkative.
Therefore, I couldn't recognize it, not only wei Zheng and Wei Zhongxian had different temperaments, but even the way they spoke. Jin Shijie's Wei Zhongxian, that is, the voice is hoarse, high and low, the yin pity sneers, the rhythm is fast and slow; Wei Zheng, that is a serious book, the words are straight.
It's just two people.
It is the so-called acting.
——Mr. Jin Shijie's former good partner Li Liqun also played Wei Zhongxian, but it is much easier to distinguish.
In the "New Dragon Gate Inn" TV series, Wei Zhongxian speaks lightly, wei but not heavy, hidden sharp, good to hear; but Li Liqun's voice is too easy to recognize, and in which film, it is so thick.
Jin Shijie hid deeper, just as they said crosstalk, Jin Shijie was the one who pretended to be clumsy, picked up the call, always suddenly realized, and praised. Not much to say, hidden in the shadows, you can't recognize him.
Of course, Li Liqun can also be transformed from the sinister and evil Wei Zhongxian to the elegant and easy-going Professor Tian at will, without showing a trace.
In the 1993 edition of "Yitian Slaughtering Dragon", he also played Zhu Yuanzhang. That was the best Zhu Yuanzhang I had ever seen, and it made me feel like, "Zhang Wujie can't fight him, it's really not strange." ”
There are some characters that you just need to recognize.
For example, if Jiang Wen lacks his unique style, the entire fierceness of "Let the Bullets Fly" will be eliminated.
Chen Daoming's "Tangshan Earthquake" does not show his increasingly personal heroism after middle age, but to make Fang Hong's elegant spirit in "Siege", and the slap he slaps Lu Yi's character cannot make the audience relieved.
It's like in the 1990s, when all directors in Hong Kong would let Chow Yun-fat walk in the direction of Little Ma Ge and the God of Gamblers, revealing that murderous smile — the audience was willing to buy tickets for this.
These are wrists, horns, tan Xinpei's "Dingjun Mountain" in the dance knife does not lift the flag of the unique skill, is the face on the poster.
Moviegoers have a strange stubbornness in this regard: they want to see both good acting and the signature faces of their beloved characters – the two are sometimes simply contradictory.
But there is another kind of person: they act well, they act too well, too good to be recognized at times.
For example, Teacher Wei Zongwan.
I had seen his Sima Yi, and later I was familiar with his Gao Li.
But later, the old ghost of "Sanmao From the Army" and the uncle of "Filial Piety and Virtuous Sun Waiting", I did not recognize it at first glance.
Later, I finished watching "Submission of Names" to see him and Teacher Wang Kuirong.
For example, Teacher Lu Zhong. Her old man's performance of "Towards the Republic" Cixi is well known.
But I have to remind you that the old lady in the 1987 version of "Dream of the Red Chamber" is her voice - I didn't realize it at all.
For example, Teacher Li Mingqi. Her old man's aunt Rong did not mention it, but Aunt Li in "I Love My Home", the Queen Mother in "Water Margin", and the one in "Home with Nine Phoenixes" are really different.
For example, Teacher Zhang Zhi.
Weng Tonggong in "Towards the Republic", who recognized him as the poisonous tongue Zhang Song in "Romance of the Three Kingdoms"?
For example, Teacher Wu Gang. Lu Qiaoshan in "Lurking" and the sixth master in "The Sound of the Wind", in addition to the similarity of voices, is there a little similarity? It's all creepy, but it's a different approach.
As for Li Dakang, who later became Li Dakang, this is even more of another personality.
Not to mention his smell.
For example, Teacher Shi Xiaoman.
Xu You, who is clever in "Romance of the Three Kingdoms".
He Zhangmen who stuttered in "The Tale of Wulin".
The trafficker in "The Gate of the Mansion".
The personalities of the actors are completely different, and you may not be able to connect with them.
For example, Liu Xun.
Jia Ting's big stall head in "New Dragon Gate Inn", Li Gonggong in "Nine Pin Sesame Officials", Mr. Shape And Yi Fist accounting room in "Generation Grandmaster", Huang Feihong and his father in "Huang Feihong"...
For example, Teacher Bi Yanjun.
In "Romance of the Three Kingdoms", he played two roles alone.
The change of appearance is the villain Li Ru and the decent Yang Xiu.
The cowardly Second Master Bai in "The Gate of the Great Mansion". "Mei Lanfang" begins with a parade of poor Baba people with shackles.
Yang Xiu's self-confidence and Second Master Bai's pain came out between the changes in his eyebrows.
For example, Teacher Li Tianzhu.
In "Red" and "The Biography of Zhen Huan", the city-filled Jin Ge and the properly and stable Su Peisheng are not like a person at all.
For example, Xiao Fangfang. "Woman Forty" and "Fang Shiyu's Rise Again", the two are contrasted: the former is bitter and bitter, and the latter is unrestrained.
For example, Lang Xiong. "Push hand" and "Diet Man and Woman" are not mentioned.
But the first time I watched "Crouching Tiger, Hidden Dragon", I was stunned that I didn't recognize Grandpa Belle as him! ------------
For example, Teacher Li Xuejian.
"Jiao Yulu" does not mention, it is a classic.
The workers pulling on their shoes in "Happy Times" are too authentic.
His First Emperor in "Hedgehog" is the best First Emperor I have ever seen.
He was strong enough in that play, and anyone playing against him made me feel slightly embarrassed, only Wang Zhiwen (Yan Yi) played with Li Xuejian, and it was still a feeling of a draw.
Obviously it is the same face, why is it that one is a people's cadre and the other is an anxious emperor, which can make people feel that they are all appropriate?
To put it bluntly:
Some films, such as the old four famous works, such as "The Gate of the Big House", "I Love My Home", "No War in Peking", "Towards the Republic", casually find a dragon set actor to come out, are more than any one of the current crews will act.
Bad movies are bad actors, and good movies are good actors.
Think about the several leading actors in "I Love My Home"; cameo characters, Cai Ming, Zhang Hitomi, Guo Donglin, Xia Lixin, Wang Kuirong, Ge You, Zheng Zhenyao, Ying Ruocheng, Liu Wei, Xie Yuan, Jin Yaqin. Which is not a play bone?
In "A Generation of Grandmasters", Zhao Benshan chanted that some people had to make faces, and some people had to do lizi. Movies, from the moment it began to become a commercial tool, had to have face, people who showed their faces on posters, people who stated in interviews, people who provided some handsome looks, handsome scenes, and classic lines on key occasions in the film.
But there have to be people in the work, patching, rubbing, gluing to something.
During the Republic of China, the Peking Opera Actors Troupe often had such a bottom bag: no more than a corner, can not rely on a play to mix meals to eat, so this class of drama is finished, take a rickshaw to another theater garden, change the face on the spot, and then go to another play, sometimes busy enough to forget what their words are. They will have the most dramas, but they usually do not like to make a sound when they eat and drink tea, and they laugh and laugh when they hear the ticket holders say how many dramas they will play.
Most of the fans will be the first two card play, and this kind of bottom bag will be from the flip heel of the flag-raising gun.
They are the drama, the details that make a play solid and perfect, but they are not obvious.
In "Kill Bill", the scene between Chiaki Kuriyama Aobaya vs Uma Thurman is the eternal peak of Chiaki Kuriyama's life. Since then, she can't get rid of the former bangs and Japanese girls' school uniforms from "Battle Royale" to "Kill Bill". It was a brilliant image that Quentin Tarantino had tailored for her.
But few people mention this:
Before that scene, Hattori Hanzo, who built the Japanese sword for Uma Thurman, was Shinichi Chiba, the overlord of "The Storm And the World"...
What no one notices even more is that before Chiaki Kuriyama left the factory, one of the masked killers who was killed was Kazuki Kitamura...
Yes, the seductive Kazuki Kitamura, with no lines and no face (because he was blindfolded), was stabbed by Uma Thurman just before all of us recognized him.
Finally, I have to praise Zhao Lirong more.
Speaking of her old man's home, there is a lot to say.
Generally Grandma Zhao's sketch lines, everyone recites backwards like a stream, I want to say that her old man's acting skills are psychic, not only sketches, but also not only the che chi queen of "Journey to the West".
"New Year", she took the Tokyo Film Festival film queen. Then in "Filial Piety and Grandchildren Waiting", she played an old lady with a completely different personality.
The tone of these two works came out in the eyes of her old man.
"Filial Piety and Virtuous Grandchildren Waiting" is a pyramid of acting skills competition.
Chen Peisi, Ni Dahong, Ding Jiali, that acting skill, naturally are top-notch.
However, a few of them, standing next to Wei Zongwan, it seemed that Teacher Wei Zongwan was particularly slippery and free, more skilled than several of them.
However, compared with Grandma Zhao, Teacher Wei Zongwan can still show that he is "acting". Teacher Zhao Lirong's performance often makes people think that she is just a performance, that is, making a documentary. It was a sitting photo.
Everyone is used to her Baodi tone, a bite of Tangshan taste. But in fact, when she was old, it could be this temperament:
Some people have to be face,and some people have to be inside.
Such a lizi is worthy of the word "actor".
Pick up yesterday's one and turn out an old article.