Domestic dramas finally have a convincing protagonist for it.
Love letters are flying all over the school, and there are constant flowers for admirers downstairs, Puxinnan thought that he could capture her heart, and he did not hesitate to abandon his girlfriend of seven years.
Forget about cutting the man, wherever she goes, a bunch of girls are surrounding her, and even the cold-faced female boss was picked up in the last class.
When encountering this kind of Mary Sue bridge, the audience will definitely scold, and at first glance it is Liu Yifei ("The Story of Rose" as Huang Yimei......
Never mind.
In real life, it is not surprising that Shengshi Meiyan has this treatment.
When Fan Bingbing was in middle school, she reported in the morning and caused a sensation in the afternoon, when the teacher pulled out more than 60 boys from behind the holly tree to see her, and some people planted a flower on her door every day.
Therefore, if the hardware conditions of the actor are sufficient, he can play a peerless beauty and maintain his true colors to be accepted by the audience.
It's just that this kind of actor is rare, and this kind of character design is favored by domestic entertainment.
So if you can't grow up to Liu Yifei, how should the peerless beauty stand up?
First of all, what is a peerless beauty like?
I remember that someone criticized Jin Yong's appearance for his lack of words, and everything he wrote was "stunning" and "beautiful", which made people unable to imagine a specific image.
Unlike classical masterpieces, such as "The Golden Vase of Plums", which describes Pan Jinlian's mouth, there are "cherry mouths, smiling faces, flowers", "sandalwood mouths are light, seducing peaks and butterflies", etc., seeing the text is like seeing my own description.
The word "peerless beauty" is also a model of lack of words, which is roughly equivalent to "the most beautiful in the world" and "the beauty of the beauty", and the use of this word mainly has the effect of amazing everyone.
But "beauty" is subjective, for example, in "The Story of Rose", Zhu Zhu, Wan Qian, and Liu Yifei are in the same frame, and there is no unified answer to who is more beautiful.
Therefore, the "peerless" that far surpasses everyone else is either really expensive and has an overwhelming advantage, with its own buff that stands out from the crowd.
This number of beauties is more common in Western movies.
Fellini is good at shooting human desires, and in "La Dolce Vita", the Swedish sexy goddess Anita Ekberg plays the role of a carrier of desire, with a strong body and exaggerated proportions.
She is taller than most men, and the fragrant aura of the whole person is more like a protective cover, and when she looks at it more, she feels that the untouched person has offended the goddess, but she really can't take her eyes off.
In another work, "Three Joyful Spring", Fellini further amplifies her sense of oppression, making her a giant in the protagonist's spring dream.
This gesture of looking up brings the peerless sense to the extreme.
In fact, Chinese aesthetics don't like to go to this extreme, and they love the charm more.
Therefore, the "peerless" mostly makes a fuss about temperament, only if the temperament is not like a person, can it be distinguished from people, that is, it must be dusty and refined, and there is no taste or light human taste.
Let's take the Naran version of Daji in "Fengshen" as an example.
In fact, Na Ran herself is not dazzling at a glance, and with a shy personality, director Wu Ershan was a little disappointed when he saw her for the first time.
In the end, Daji's effect is amazing, which highlights her inhuman (and herself a fox) temperament.
The face is pale, the eyes are clear but indifferent, looking at the portrait is looking at the alien who is different from her, the action is the form of a fox, but the facial features are modeled in general, and the standard beauty is very beautiful.
It is the heterogeneous beauty that distinguishes it from the universal human being that catches people's attention.
In addition to Naran's version of Daji, another unique example of a peerless beauty is Zhang Rongrong's version of Yang Guifei in "The Legend of the Demon Cat", which has been talked about before.
Yang Guifei's "Looking Back and Smiling at a Hundred Charms" exists in poetry and imagination, which is difficult to concretize.
The clever thing about "The Legend of the Demon Cat" is that it did not turn from fiction to reality, but used fiction to convey fiction, and put various light sources such as candles and LED lights around the actors, so that as soon as Yang Guifei appeared, it instantly made people feel like they were in a dream.
The lighting also gives the actors a kind of sacred motherhood that people dare not blaspheme, making people forget the vulgar.
The establishment of "peerless", the refinement of temperament and not like people is the finishing touch, but there must also be a decent mold to support it.
Due to the changes in online aesthetics, the peerless beauties on the screen we are now generally the bone of the West and the skin of the East.
The two actors mentioned above, Zhang Rongrong and Na Ran, one is of mixed Chinese and French descent, and the other is of mixed Mongolian and Russian descent, both have broad foreheads, deep eyes and high noses, sharp Western bone physiognomy on the face, and subtle and soft oriental skin.
Its delicacy and exoticism directly widen the aesthetic distance, and we are attracted at a glance, which is really different from the vulgar things we have seen.
Another one that I think fits the essence of this beauty pageant is Zhang Yuxi in a small paste drama "Guess Who I Am".
Zhang Yuxi plays a heartthrob in it, as long as she looks at a certain group of people, she will become an ideal type in the eyes of that person and be loved.
With such an exaggerated setting, Zhang Yuxi's face is still convincing, after all, Zhang Yuxi looks like a levitation, giving people a delicate dummy like a doll (no bad meaning), which is just suitable for this kind of ungrounded character who is loved by everyone.
The above three kinds of "peerless beauties" are not completely enough, and the atmosphere is made up, using standard beauty + non-contaminated human flavor + exoticism to create a stunning effect at a glance that is far away from the world.
The peerless beauties of life dramas, of course, can't be tricked by lighting, simulated fox demons, etc., what is needed is a real beauty temperament or appearance and makeup.
This is going to talk about Liu Yifei in "The Story of Rose".
Liu Yifei's beauty no longer needs to be said, Wang Yuyan, Zhao Ling'er, Xiaolongnu, etc. in her early years laid a broad mass foundation for her "beauty god image".
In today's situation where the aesthetics of domestic entertainment are downgraded, and any ordinary girl claims to be alluring to the country and the city, Liu Yifei has become a bodhisattva behavior to wash the audience's eyes.
Although no one dared to chase Liu Yifei in real life, she was chased by people from all walks of life in the play, which helped the audience to complete the imagination of "not daring to make times".
But having said that, Liu Yifei's facial features are actually not the most exquisite, and they are not quite the same as the thrilling Peugeot like Li Jiaxin and Cecilia Cheung.
Her role as the beloved Huang Yimei is convincing, and I think it is the charm of a beauty.
This kind of charm, first of all, conforms to Chinese aesthetics, although cold but amiable, although glamorous but up to the point, that is, you can use Chinese painting to outline her charm with a few strokes.
The second is the arrogance and self-appreciation that have been raised by the envy of everyone since childhood, and they can get attention without over-embellishment and scheming, so there will be dazzling relaxation.
In the play, Zhou Shihui ran to Huang Yimei's school with flowers in her hand to confess, and her upset and helpless expression was so small that it was almost invisible.
It is true that there is no need to do too much action, every day downstairs is to send flowers, and she is afraid that she will have to witness such a scene once in a few days.
In the face of Zhou Shihui's grandeur, Huang Yimei was much more rash, fiddling with the tools at hand in the process, hearing the other party's warm confession, and looking at him with a little surprise.
Don't be contemptuous, don't use it for fun, all of Huang Yimei's expressions and actions don't contain much emotion, facing other people's eyes, liking, and enthusiasm, just fluttering.
After all, the trouble caused by Zhou Shihui to the beauty is like accidentally choking on drinking water, coughing twice, and then continuing to drink.
The relaxation on Huang Yimei's body is the politeness that she is not strange to the outside world, similar to Liu Yifei herself.
She can't control the attention of the outside world, and gradually develops an introverted trait, and it is inevitable that she will be out of place in the crowd.
You see that in reality, those peerless beauties who are recognized by the audience, they have an independent temperament that is far more than the murderous behavior.
Shu Qi and Ni Ni are both recognized as "catfish" beauties, but compared with the two, Shu Qi will be more suitable for playing peerless beauties.
Ni Ni is indeed beautiful, but just by this measure, she still can't jump out of the universal aesthetics.
The so-called "peerless", her temperament is more outstanding, and her eyes somewhat reveal the loneliness of self-appreciation, making it difficult for you to find a second replacement.
Compared with Monica Bellucci (when she was young) and her daughter, with the same delicate face, you feel that compared with Bellucci, her daughter has a charm that makes the whole face come alive - this may be the legacy independence of a peerless beauty.
Therefore, it does not have to be beautiful to be a fairy, as long as the charm of a peerless beauty is performed, it can also catch people's attention.
Maggie Cheung, who has felt that she is not beautiful since she was a child, can also use her body, her posture, and her mouth to play Ruan Lingyu, the first beauty of the Republic of China.
Maggie Cheung is an actor who appreciates food and food, she rarely reads scripts, likes to act with feelings and intuition, every time she wears the clothes in the play, puts on the makeup in the play, stands in front of the mirror, and suddenly finds herself a person in the play.
Take Ruan Lingyu's makeup as an example, the biggest problem at that time was the eyebrows, Ruan Lingyu's eyebrows should be thin and long, but Zhang's eyebrows are a little thick, and the makeup artist used glue to paste her eyebrows very thin and thin, which is still not similar enough.
Maggie Cheung couldn't sleep in the middle of the night, chatted with the makeup artist, chatted and chatted and suddenly asked him to shave off his eyebrows immediately (to prevent regret the next day), painted Ruan Lingyu's eyebrows, and then shook Guan Jinpeng awake, holding his forehead with his hand and saying, "Ah Guan, look", and took it away, revealing Ruan Lingyu's slender eyebrows.
This time I seemed to have touched Ruan Lingyu's charm.
Maggie Cheung is a special case, she is not a big beauty in the standard sense, but she has the consciousness of a big beauty, which is similar to Jin Minxi, they are all used to indulging in themselves, and they all have a sense of exhaustion after their desires are satisfied, and they are also the so-called relaxed, high-level, and lonely self-appreciation of big beauties.
This kind of actor can afford a peerless beauty regardless of temperament or skills.
On the contrary, Bailu does not have the consciousness of a great beauty, Zheng Shuyi, who plays "Love as the Camp", when she is praised for "bringing disaster to the country and the people", she only looks at her eye movements, and feels that she is about to blurt out "is it true", and then secretly rejoices, how can there be a little big beauty.
The key to Bailu is not that it is not beautiful enough, but that there is no sense of belief in beauty at all, or that the temperament is not touched at all.
But actors like Maggie Cheung are too thick and heavy, and they have the feeling of overshadowing the role, if you want to give a really vivid case, it has to be Lin Fangbing's version of Yang Yuhuan in "Tang Minghuang".
This version of Yang Yuhuan is not Zhang Rongrong's version of Zhang Rongrong's version to achieve the ultimate beauty by making people virtual, but relying on service to transform the Tao, relying on actors to eat 50 pounds of weight, to achieve resemblance and god-likeness.
The big white makeup and the peach pink blush that spread out highlight Yang Yuhuan's health and radiance, and the cloud-like bun with big flowers swayed to show her grace and luxury.
At that time, the crew's funds were limited, and Yang Shuyun made ten large peonies of different colors in the Beijing Silk Flower Factory, one hundred yuan each, using yarn imported from Japan.
That is, in the eighties and nineties, such efforts will be made to restore the shy flower posture that only the Tang Dynasty can nourish in the audience's mind.
There's nothing wrong with dazzling, but sometimes dazzling is too easy to be the target of someone with a heart.
In "The Story of Roses", Zhuang Guodong and Fang Xiewen both fell in love with roses at first sight.
This romanticized "love at first sight" is nothing more than finding the most beautiful in the crowd as a goal to pursue.
Zhuang and Fang are both dormant parties, one quietly watching the rose take the bait, and the other is currying favor with the rose step by step. Fang Xiewen's chasing the rose will soothe his self-esteem, and after chasing it, he was afraid that the dazzling light of the rose would stab his inferiority, and tried every means to make her dim, so that his heart was balanced.
Seeing more beautiful girls in the circle as targets, Wu Yanzu hopes that his daughter will not be beautiful, just ordinary.
What's more, the four beauties of our ancient times are all tools and victims in a sense.
Chen Hong's version of Diao Chan, Jiang Qinqin's version of Xi Shi
For this reason, we always see them with a hint of admiration and compassion.
This reflection on them will increase their own loneliness.
But dazzling is never a problem, the question is how to face your own dazzling.
Dazzling requires exponential wisdom to turn shackles into real gifts.