Recently, in the domestic entertainment film market, there is a trace of sadness in the depression.
"There is a Commissary by the Clouds" and "Hourglass", which were released almost at the same time, the former "liked to mention" a score of 5.4, and the latter has not been scored so far, but it has also been scolded.
"Hourglass" comment area
Some people think that it is because of the lack of experience of the creators, (such as Zhang Jiajia, the director of "Cloud Edge", this is only the second film he directed), but I think the reason is more than that.
Putting the two together, it is not difficult to see what they have in common: they are both adapted from the novel of youth pain.
This kind of work was once popular in the film and television industry, and it was also a weapon to praise people.
Ma Sichun, Ou Hao, Bai Jingting, Ren Min......
Nowadays, all the actors have been blessed by the literary adaptation of youth pain.
(Ma Sichun's Li Bara back then is still the white moonlight in some people's hearts)
And now, it seems that the magic of this track has been exhausted, and there are no more works and newcomers.
It makes me curious
Is the youth (black) history of our generation completely ineffective, or worthless?
Thanks to the deep influence of this kind of literature on the 80s and 90s generation, the adaptation of youth pain literature to film and television has had a short spring.
In 2013, Guo Jingming's novel of the same name "Little Times" was released for 7 days, and it was easily 340 million yuan, which can be regarded as making this kind of literary work film and television finally attract attention from the outside world as a phenomenon.
Subsequently, because of the development of the Internet in those years, similar works that had accumulated a certain number of fans in the early years also poured into the film and television drama market. "Left Ear" and "The Year in a Hurry" are all cases of successful film and television with that shareholder style.
"The Year in a Hurry" has maintained a high score of 8+ so far, and it is the king of mainland dramas that year of broadcasting
I have to admit that similar works in those years, whether in terms of commercial achievements or market evaluation, have their merits.
But on the other hand, the cruel reality is that such "optimism" comes and goes quickly.
In 2016, "To Youth 2" was released, and the final box office of the work with an investment of 400 million yuan only won 336 million, and "Secret Fruit" starring Ouyang Nana and Chen Feiyu also hit the street at the box office.
But to say the worst, it is still "Liangsheng, can we not be sad".
The works that sold 1.18 billion sky-high copyrights at the beginning, after the broadcast, received a Douban score of less than 5 points, as well as a spicy comment on the leading actor by imitating the title of the play, "Zhong Hanliang, can we not act in idol dramas?" ”
After so many years, this comment still remains at the top of the list
In just five years, this IP adaptation track has experienced a rollercoaster decline from prosperity to decline.
As for the reasons behind it, perhaps, this kind of novel naturally lacks adaptation genes.
Take Guo Jingming, the grandfather of this track, as an example, he described graduation in the novel "The Summer Solstice Has Not Arrived":
All the camphor, all the tears and embraces, all the unforgettable scorching years, all the prosperous and scattered lives, all rushed to the grand death together in the summer when the summer solstice had not come.
(The cover of the first edition before the summer solstice arrives, full of strong adolescent sadness)
All in all, this kind of work prefers to depict some kind of pain that does not exist at all.
It itself uses words to write abstract and nihilistic things, while film and television often move towards figurative realism, which forms a very clear fundamental contradiction.
Another example is "Left Ear", published in 2006, thanks to the fact that the Internet was not developed at that time, Rao Xueman, who is good at describing the hearts of young boys and girls, has a good information gap.
In the middle school period when our generation was prescribed to only wear school uniforms, do exercises, and strictly prohibit falling in love, she created the image of a rebellious girl like Li Bara.
She wears all-inclusive eyeliner, but when she should go to school, she sings in a bar, and she talks about love even more, and the gangsters love her at the school gate, and the first grade loves her even more so that she doesn't want a future.
In this comparison, can we, a bird that seems to be grounded, not be moved?
But many years later, when the beautiful and hazy sentences in my memory were read out word by word, I suddenly had a sense of shame of being read aloud in public about the spatial dynamics of middle school, and I saw goosebumps layer upon layer.
How long has it been since you've had a heartbeat
How long has it been since I said I love you to a girl
How long has it been since I cried, hurt or collapsed because of love
If your answer is NO
Then your love has been asleep for too long and too long
And this kind of false pain, with the social experience and the maturity of the mind, also becomes very easy to see.
Love is love when it's right, and love is youth when it's wrong?
Now that I think about it, my youth seems to have only been a workbook, a headphone cable hidden in my hair, and a pot of black, fried chicken tenders at the school gate.
Youth pain literature is a product of fantasy, an illusory life that we once envied but could not touch.
At the moment, it is too far from real life.
As soon as "Left Ear" opens, it is a sentence that is so pretentious that it makes people shiver
Dedicated to our once turbulent youth and love
At that time, the repressed rebellion in our hearts was vented by hypocrisy and moaning without illness, and now, the public has entered another psychological state, and madness and playing abstraction are the mainstream.
This disconnection from the mind of the times has also become the reason why it is difficult for this kind of IP to succeed after film and television.
Adolescence is the transition stage from childhood to independence, and it is the greatest desire of young people to break free from the shackles of their elders and not live like their parents.
And people, there are only two ways of thinking: either surpass or give up.
Some people will think that I want to be more successful and powerful than my elders and thus achieve freedom.
As a result, the extravagant "upper-class" life in "Little Times" planted amazement and envy in the hearts of teenagers.
Some people will think that I self-destructed into an uncontrolled depraved youth, allowing my parents to voluntarily give up their restraint on me.
As a result, the bloody stories of smoking, drinking, fighting, car accidents, and abortions have also become the spiritual food of a generation.
The desire for self-destruction has always been the culprit of adolescent restlessness throughout the ages.
The previous generation was obsessed with "Crazy Boy", and the next generation played crazy literature, dragging themselves off the "normal" track.
However, as the spirit of rebellion becomes more and more abstract and illusory, the difficulty of film and television is also constantly iterating.
Guo Jingming, who has been a successful director in transformation, still has a degree of materialization and feasibility in his exaggerated aesthetics.
The poor and luxurious life in "Little Times", although it is very suspended, he really has so many brands of goods at home, and he can shoot them.
"Little Times" is getting better and better today, and it has even become a classic of hunting, relying on the four directors' ability to make dreams come true.
But compared with those who purely take the route of beauty, sadness, and atmosphere, not only the success rate of the work is low, but there is a high probability that the fig leaf of the original work will also be torn off by the way.
In "Left Ear", Zhang Yang, in order to take revenge on Xu Yi, asked Li Bara, who had a crush on him, to seduce Xu Yi, and today he has to cover his eyes and look through his fingers to dare to watch it.
has a lineup of immortals, and Wong Kar-wai participated in the writing and production of "The Ferryman", which is still a huge mouse poop in the history of Chinese film and television.
To put it bluntly, we all rejected the vulgar, upright, and trendy life back then.
Li Bar, who dropped out of school, did not seem to have caused trouble in her life, but singing in a bar made her a rather attractive girl.
Chen Mo, the depressed bar owner, after meeting the goddess, instantly became a "social atta" full of rivers and lakes and strong work ability.
These are the lives that writers of youth pain literature have promised us with words.
But teenagers who have had countless fantasies often go to the most vulgar future.
even found out one day that "normal life" is still a rare thing in this world, where can I still let myself buy this kind of account.
People, once you learn to be smart, you can no longer force yourself to be deceived.
However, it seems difficult to conclude that the literary IP of youth pain has no potential for adaptation.
The movie version of "July and Ansheng" can be regarded as a success story.
Looking at Baby Anne's original book now, I actually make the common mistake of this type of novel, advocating a grotesque tragedy and destructive aesthetics.
In the original book, July and Ansheng are in extreme contrast
An Sheng, who has an unfortunate life and a perverse temperament, robbed the other party's boyfriend, and left a child to raise in July after he died in childbirth.
July, who is affluent and well-behaved, first lost his beloved, and then lost his best friend, and then carried the responsibilities left by Ansheng forward, and there was no freedom in his life.
Such a story is unreservedly painful, and it is not an exaggeration to say that it is bloody, and the two diametrically opposed women have never escaped the oppression of patriarchy, and they are both victims of objectification.
However, the film version has undergone a drastic upgrade with the joint efforts of director Zeng Guoxiang, producer Chen Kexin, and first-line screenwriters in the digital circle.
After reading the original book, Zeng Guoxiang felt the love of the two girls that transcended friendship.
How to show this heart-to-heart connection directly to the hearts of the people without getting tired of it became a problem he had been considering at that time.
Source: Yangcheng Evening News "Zeng Guoxiang: I dare not say that I am a literary youth"
And the final film also proves that the expression of the film version is better than the original work.
From the confrontation of girlfriends led by Jiaming, to the love and killing led by the two girlfriends and Jiaming becoming a foil, "July and Ansheng" has refined a female theme with a rather evocative space.
Since childhood, he has a sharp personality full of thorns like a rose, which determines Ansheng's behavior.
But in addition to the behavior of "snatching men", she has extremely complicated feelings for July.
An Sheng knew that the reason why July, who had always been forbearing, reacted like this was because he and Jiaming had forced her into a corner.
She had no choice but to self-destruct to solve everything.
An Sheng felt sorry for her.
And when the story progresses further, the relationship between the two is further deepened
July is also Ansheng, and Ansheng is also July.
They are two sides of the same coin, the externalization of human differences, and can even be two sides of a person.
And the tragedy of the passive lives of the two women in the original book has also become a universal humanistic care at this moment
No matter how different it is, we are all the same, bearing the weight of life.
But actually
Girls don't care which way they go
It's going to be hard
This is an interpretation that makes the public more empathetic.
Just like the relationship between Lila and Lennon in "My Genius Girlfriend", jealousy is real, and it is also true to yearn for the charm points that do not exist in each other, but when the predicament comes, the only one who can pull himself is the other party.
A barrage more accurately expresses this delicate feeling.
The real third party is not An Sheng, but Jia Ming.
But in the final analysis, the adaptation to this extent has drawn a line with "pain literature".
Without the rhetoric of moaning without disease, and without the narrative of ups and downs, this is just a contemporary story told under the guise of "youth literature".
In fact, each generation has its own youth literature, from Zhang Ailing to Qiong Yao, from Sanmao to Yishu, and the new people who have risen generation after generation.
In Rao Xueman's place, the representative of "youth" should be Aunt Qiong Yao.
And with our generation as a turning point, youth literature has undergone a huge transformation
The profession of "writer" is becoming more and more popular, and it used to be quite a great thing to write for dinner, but now everyone can write online.
This kind of pain-related works, which originated after the new century, are often less scrutinized than the literary creations of their predecessors.
Because they are only the expression of emotions under certain conditions, and the more the times go forward, the more people pursue nothingness, and the more they lack a sense of value.
Now, when we, as readers, have been educated by the society from sad literary and artistic youth to adults, Zhang Jiajia and Rao Xueman, who are middle-aged, seem to have not been able to get out of their youthful painful dreams.
Under the related works, meaningless sorrow and innocent moaning still become the focus of criticism.
This is not to say that the youth of our generation is particularly worthless, meaningless, and worthless.
"Sunny Days", adapted from Wang Shuo's "Animal Ferocious", in the final analysis, this is the youth literature of the children of the big courtyard.
But the sharp self-deprecation at the end also points to the confusion of not finding meaning.
The confusion, pain, and anxiety of adolescence have not changed from generation to generation.
Paradoxically, as human suffering becomes more complex and difficult to express, literature becomes more and more superficial and fails to grasp the point.
The era told in "Sunny Day" is that people's hearts are simple, desires are vigorous, and wandering with nothing to do in summer is the appearance of youth.
And what is youth like in this era?
I don't think anyone can paint it clearly.
Bozeman argues that in modern society, children are prematurely infected with the adult world, and the original sense of "childhood" has disappeared.
As far as the eye can see, it is not difficult to find that adults and children are becoming more and more difficult to distinguish between them in terms of behavior, language habits, attitudes and desires, and even physical appearance.
The Passing of Childhood
In this way, "youth" has naturally become an extremely vague existence.
The problem with these books that I read when I was young may not be that they are too pretentious, but that even if they are so exaggerated, they still cannot outline the youth of today's generation.
Its gloom cannot be summed up by the shallow self-destruction of school dropouts, abortions, car accidents, and crime, and its sorrow does not seem to be enough to be depicted and presented in words or images.
At the end of "Sunny Days", the protagonists who have grown up meet the fool at the mouth of the alley when they were young in a stretch car, and greet him excitedly.
And the fool's response was two sonorous words: silly X.
They smiled and drove away.
These two words refer to the years they had in their hearts, and they were also the times.
The predecessors have summed it up so clearly, and now if you want to shoot something fresh, I'm afraid it's in vain.
#长文创作激励计划#