In the Mid-Autumn Festival just past, the film "Big Scene" starring the "gratifying people" of the "Annual Comedy Contest" performed poorly, and the box office has exceeded 10 million so far, and the reputation has not satisfied the audience.
Before its release, this work was regarded as a gratifying "graduation ceremony", and it was also a real highlight "famous scene" for them. At the premiere, the leading actors Wang Tianfang and the cool Teng Zeng said emotionally, "I hope we can let everyone see the hope of comedy through small-budget movies, the previous generation had Shen Teng and Huang Bo, and we did not fall, everyone is moving forward, and we will eventually usher in our own 'big scene'." ”
However, in the end, "Big Scene" did not enter the top ten at the Mid-Autumn Festival box office, and the results were even surpassed by "Catching the Doll", which has been open for more than 2 months. The cost of trial and error required to brave the film market is obviously much greater than that of the comedy stage.
After the failure of "Galaxy Writer", "The Big Scene" seems to have become an "internal self-congratulation" again - how far is "gratifying" from making a good comedy movie?
As a work with a lineup that focuses on "gratifying team building", the audience accumulated by "Annual Comedy Contest" is naturally the priority audience group of "Big Scene".
Although some fans gave "doting" to the new actors' first precious opportunity, more netizens who paid attention to them because of the stage still gave objective evaluations: "Big Scene" did not meet everyone's expectations, and it was not even as wonderful as their creation and performance on the stage of "One Happiness" and "Two Happiness".
For some time, filmmakers have been discussing the impact and impact of new media such as "short videos" on traditional film and television creation. The batch of "comedy newcomers" who came out of the "Annual Comedy Contest" entered the public eye with the rise of "fragmented" content and the transformation of the audience's entertainment mode.
The new creative environment allows their sketches to be condensed into videos of a few minutes or less, and reach a wider audience through the same "short and flat" platform. Under the influence of this aesthetic orientation, the audience has long been accustomed to this kind of content model that "simply and directly" gives jokes and meets their own entertainment needs in a short time.
And when entering the long length and strong narrative rhythm of film creation, the explosive power of quickly outputting jokes is no longer an absolute advantage. For the "gratifying" at this stage, the youthfulness of the content and the timeliness of the "network sense" are the main manifestations of their creative differentiation from their predecessors.
However, "Big Scene" just abandons these "labels" that are more familiar and loved by the outside world, and chooses a script that has not yet been tested by the market and is not yet mature, and a serious comedy style that is not mature to face the standards and expectations of movie audiences for a theatrical comedy content.
Naturally, the results were not satisfactory. An audience member commented after watching "The Big Scene": "Xiren uses his strength to prove that sketch is sketch, and comedy movies are comedy movies. Many clips can be laughed at as jokes, but they are embarrassing and disobedient in the movie. There are also more fans who express their puzzlement about this creative change: "Can people not rely on sensationalism on the stage, but purely rely on comedy to rush to the sky, how can a starring movie act and always want to 'make dumplings'?" ”
"Happy" has become unfunny in the eyes of the main audience, which may explain the failure of "The Big Scene". It is true that there are many new films in the Mid-Autumn Festival and the competition is fierce, but another comedy genre work "A Shame Before the Snow", which is PK on the same stage as "The Big Scene", still became the runner-up with a box office of nearly 50 million.
As the "rigid demand" of the film market, comedy will still perform prominently in many schedules in 2024, and the impact of brand and word-of-mouth on the box office effect of this track is also particularly significant. From the small stage to the big screen, the so-called "team building" of "Big Scene" seems to have consumed a handful of word-of-mouth in the industry in advance before "Happy" has really become a mature "comedy movie" brand.
From the actual combat test of hundreds of drama stages to the continuous expansion of the universe of "Xihong City". Even Shen Teng, the representative of the "previous generation of comedians" in the mouth of the cool Teng, also has his own "comfort zone". Before establishing a comedy brand that the audience trusts, instead of blindly breaking the so-called stereotype, what new comedians need more at the moment is to find and grasp the audience's preferences, and use the creative logic of the "fragmented" era to open up a "gratifying" new track that is on par with the previous comedy creators.
Looking forward to the future, it is gratifying to usher in a real "famous scene".