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In the winter of 2023, a high-profile TV series "Flowers" quietly landed on the screen. This is the first time that the internationally renowned director Wong Kar-wai has set foot in the field of TV dramas, which naturally aroused high expectations from the audience.
There are also powerful actors such as Hu Ge, Tang Yan, and Xin Zhilei to join, and the luxury of the lineup is coveted. However, as the episode aired, the audience's reaction was unexpected.
On the Internet, bad reviews poured in like a tide, and some people even bluntly said that "Hu Ge can't save Wong Kar-wai". What is the reason for this repercussion? How does Wong Kar-wai's unique film style challenge in TV dramas? Let's step into the world of "Flowers" and find out.
"Flowers" is set in Shanghai in the 90s, and Wong Kar-wai tries to lead the audience back to that era of vitality and change through unique lens language and delicate scene restoration.
However, this restoration has caused a lot of controversy among the audience.
Many viewers questioned the Shanghai style presented in the play. "Is this really Shanghai in the 90s?" Someone asked in confusion, "How does it look more like the Republic of China period?" They felt that the costumes, architecture and scenes in the play were a little different from their impression of Shanghai in the 90s.
However, some natives of Shanghai spoke highly of the restoration of "Flowers". Lao Wang, a 65-year-old local resident of Shanghai, watched the familiar and unfamiliar scenes on TV, and couldn't help but sigh: "Director Wang has filmed the taste of old Shanghai too well."
This contrast reflects the unique charm of Shanghai. It retains the charm of the old era and continues to evolve in the new era. Wong Kar-wai keenly captures the beauty of this interlacing of time and space, but it also confuses some viewers who are not familiar with Shanghai's history.
The famous film critic Zhang San wrote in a commentary: "Wong Kar-wai's "Flowers" is not only restoring Shanghai in the 90s, but also presenting a 'Shanghai image' that exists in the collective memory.
This kind of expression may go beyond a simple historical restoration, but a kind of artistic presentation.
However, this artistic presentation has also sparked discussions about historical authenticity. Some viewers believe that as a TV series for the public, "Flowers" should pay more attention to historical accuracy.
However, there are also people who hold a different view, believing that artistic creation should have a certain amount of imagination.
This controversy over the restoration of the times actually reflects the audience's different expectations of the balance between historical truth and artistic expression, and also highlights the challenges faced by Wong Kar-wai in the creation of TV dramas.
How to meet the public's demand for historical authenticity while maintaining the pursuit of art has become an important problem that Blossom and its creative team need to face.
In general, Shanghai in the 90s in "Flowers" is not only an artistic presentation in the eyes of Wong Kar-wai, but also an emotional projection in the audience's memory. This unique interlacing of time and space is both the charm of this work and the source of controversy.
"Flowers" brings together a group of powerful actors, from respected old drama bones to popular stars, each actor has done their best to present a wonderful performance feast for the audience.
The most amazing thing is Mr. You Benchang, who is nearly ninety years old. In the play, the character he plays is full of aura and has deep line skills. Especially in the rivalry with Hu Ge, You Benchang showed breathtaking acting skills.
One viewer described: "Mr. You's eyes seem to contain the vicissitudes of time, and every eye contact is like telling a profound story."
You Benchang's performance even dwarfed Hu Ge, who has always been good at acting. A senior film critic commented: "This is not a regression in Hu Ge's acting skills, but that Mr. You Benchang's performance is so good that it makes people feel like Hu Ge is like a primary school student facing an adult tutor."
This contrast not only did not destroy the plot, but added a sense of hierarchy to the relationship between the characters, adding a lot of color to the whole drama.
The performances of the three actresses also have their own characteristics. Tang Yan once again showed her tacit understanding with Hu Ge, and her gentle and sweet temperament perfectly integrated into the role. Some viewers exclaimed: "Tang Yan's state is amazing, it's hard to believe that she is 40 years old, like a girl in her 20s in the play!" Ma Yili successfully interpreted the character's tsundere traits and added a lot of highlights to the plot.
Her precise grasp of the role shows the strength of a veteran actor.
However, the most eye-catching thing is Xin Zhilei's performance. The image of a "strong woman" she created in the play is deeply rooted in the hearts of the people, and her rivalry with Hu Ge is even more exciting.
A comment wrote: "Xin Zhilei's performance makes people feel the strength and fragility of the character's heart, and she is the most charming female character in the whole play." Her every look, every movement, was so powerful that it was impossible to take your eyes off it.
However, there is no shortage of controversy in the cast. The cameo appearance of Hu Ge's wife Huang Xining caused dissatisfaction among some audiences. Some netizens bluntly said: "Even if it's just a small role, it will inevitably make people feel that this is taking advantage of the relationship."
This practice may affect the audience's evaluation of the show as a whole. This controversy reflects the audience's concern for fairness and casts a subtle shadow over the show as a whole.
In general, the performance of the actors in "Flowers" can be said to be the biggest highlight of the whole show. From the old actors to the new generation of actors, everyone contributed wonderful performances.
You Benchang's amazing performance, Hu Ge's stable performance, and the three actresses' respective strengths constitute a wonderful group portrait of acting. However, it is this kind of excellent performance that highlights some problems in the script and director's style, which makes the audience feel a little regretful while admiring.
This contest between the old drama bones and the new generation not only shows the strength of Chinese actors, but also adds a lot of highlights to "Flowers". Despite the controversy surrounding the plot and directorial style, the performance of the actors is undoubtedly the most commendable aspect of the show.
When Wong Kar-wai's signature cinematic technique meets the new realm of TV drama, a series of "crimes" that make the audience feel uncomfortable. These so-called "crimes" actually reflect the contradiction between Wong Kar-wai's unique creative style formed over the years and the expectations of TV drama audiences.
First of all, there is the problem of the procrastination of the plot. Wong Kar-wai's usual stream-of-consciousness narrative may be able to create a unique atmosphere in the film, but it seems to be slow-paced in the TV series.
One viewer complained: "I feel like I've watched several episodes without any substantial progress in the story." This kind of rhythm may be fine in movies, but it's really hard to keep watching in TV series.
This feeling is especially pronounced in today's fast-paced society, where many viewers are accustomed to tight episodes and find it difficult to adapt to Wong Kar-wai's slow-paced narrative style.
The second is the sense of emptiness and alienation of the plot. Wong Kar-wai is good at shaping characters and plots through details and atmosphere, but this technique is easy to make the audience feel lost in TV dramas.
One comment described: "Watching "Flowers" is like walking in the fog, you know that there are many things around, but you just can't see it. Each scene is beautiful, but when connected in series, it is confusing.
This ethereal feeling, while characteristic of Wong Kar-wai's films, can be a fatal heel in TV dramas that need to keep audiences engaged for a long time.
The third issue is the color tone of the picture. Wong Kar-wai's usual dim tones may create a unique atmosphere on the big screen, but when viewed on home TV or mobile devices, it can easily cause visual fatigue for viewers.
An audience member said helplessly: "I adjusted the screen brightness for a long time, but I still feel uncomfortable watching it." This dark color palette may be suitable for the cinema, but it can be really difficult to watch at home.
"The discomfort of this visual experience will undoubtedly affect the audience's viewing experience.
Fourth, too much narration has also caused controversy. Although this is an iconic element in Wong Kar-wai's films, it is frequently used in TV dramas, which affects the flow of the plot.
One viewer said: "I prefer to get to know the characters through their conversations and actions, rather than listening to the narration over and over again." This approach may be charming in movies, but it is a bit redundant in TV series.
Finally, the issue of character creation has also been discussed. Despite the excellent performance of each actor, the relationships and personal growth of the characters do not seem to be fully displayed.
One critic commented: "Each character is like a beautiful portrait, but it lacks three-dimensionality and growth. We see their appearance, but it is difficult to really enter their inner world.
The emergence of these problems is largely due to Wong Kar-wai's direct application of the way of thinking of film creation to the creation of TV dramas. Although movies and TV series are both audiovisual arts, they are fundamentally different in terms of narrative rhythm, plot development, and audience expectations.
A veteran TV producer analyzed: "Wong Kar-wai's creative style is an advantage in movies, but it may become a shackle in TV dramas. TV series need a stronger narrative and a faster pace to sustain the audience's long-term attention.
Wong Kar-wai doesn't seem to realize this, or rather, he has chosen to stick to his style rather than pander to the audience.
However, some viewers praised Wong Kar-wai's persistence: "Although I am not used to this style, I have to admire Wong Kar-wai's courage to insist on himself." In a sea of genre TV dramas, "Flowers" is undoubtedly a clear stream.
Maybe it's not for everyone, but it does try to push the boundaries of TV series.
This contradictory evaluation precisely reflects the huge challenges faced by Wong Kar-wai in the creation of TV dramas. How to maintain a personal style while meeting the expectations of TV drama audiences is a difficult problem in front of Wong Kar-wai.
The controversy over "Flowers" may be the embodiment of this challenge.
The controversy caused by the broadcast of "Flowers" essentially reflects the profound contradiction between artistic pursuit and market demand. Wong Kar-wai has always been known for his unique artistic style, and his films are often strongly personal, even "niche".
However, TV dramas, as a more popular medium, need to consider the acceptance of a wider audience.
A veteran media commentator analyzed: "Wong Kar-wai's persistence is undoubtedly valuable, but in the field of TV dramas, he may need to learn to make some degree of compromise with the audience and the market.
A TV series is different from a movie in that it needs to be more commercial and have a wider audience base.
However, there are also supporters who believe that it is this uncompromising attitude that has created Wong Kar-wai's artistic achievements. One loyal fan put it this way: "I'd rather see a controversial Wong Kar-wai than a Wong Kar-wai who loses himself to cater to the market."
His persistence may be a setback in the short term, but in the long run, it may bring new possibilities to Chinese TV dramas.
This contradiction between artistic pursuit and market demand is not only a personal challenge for Wong Kar-wai, but also a problem that the entire film and television industry needs to think about. How to maintain the quality of art while gaining market recognition is a difficult problem that every creator needs to face.
The controversy of "Flowers" also reflects the transformation and exploration that the Chinese TV drama market is undergoing to a certain extent.
Although "Flowers" has caused a lot of controversy, it has undoubtedly brought new thinking to the creation of Chinese TV dramas. This work breaks the creative mode of traditional TV dramas, and tries to introduce more personal and artistic expressions into the creation of TV dramas.
While this attempt may not be widely recognized in the short term, it opens up new possibilities for the diversified development of TV dramas. As one industry insider said: "The significance of "Flowers" is not its success or not, but that it shows us that there is another possibility for TV dramas."
It challenges our preconceived notions of TV dramas, and perhaps inspires more innovative attempts.
Perhaps in the future, we will see more breakthroughs like "Flowers", which will promote the development of Chinese TV dramas in a more diverse and artistic direction.
The controversy of "Flowers" may be an important sign that Chinese TV dramas are moving towards a new stage.
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