The Golden Age of China Entertainment

After returning home, Yi Qing went straight into the main room, sat at the desk, and wrote four large characters on the manuscript paper without thinking.

On the way back, he had already figured out which movie to copy. Compared with writing a TV drama script, writing a movie script was much easier. Although the background of the times had to be considered, at least he didn't have to worry about funding. .

Beijing film manufacturers have a big business, investment is nothing to them at all, what they lack is good works, and this is precisely what Yi Qing lacks most.

Regardless of the investment cost, Yi Qing has a wide range of choices. This time, he chose a period drama——Children of Eight Banners!

There should not be many people who know about this movie in later generations. Although there are many big names in the movie, it can still be regarded as a niche work in general. The director of the original version is Li Hanxiang from Xiangjiang. The opera, "Burning the Old Summer Palace" and "Listening to the Government Behind the Curtain" are his well-known masterpieces.

It is worth mentioning that Li Hanxiang also directed the movie version of "Dream of Red Mansions", named "A Dream of Red Mansions", led by Lin Qingxia and Zhang Aijia.

Although the changes are relatively large, as one of the adapted films of "Dream of Red Mansions", it is definitely worthy of the "successful" second son, and Li Hanxiang's skill can be seen by being able to properly control Huanghuang's masterpiece.

This "Children of the Eight Banners" is relatively small, but it is a condensed but vivid folklore and intangible cultural heritage history, telling the life and experience of Wu Shibao, a descendant of the fallen Eight Banners.

In her previous life, Yi Qing found this movie by accident on the Internet. After watching it, the deepest feeling is that the whole play has a vivid Beijing flavor from beginning to end.

Although it is called "Children of the Eight Banners", to be precise, it should be a real and colorful painting of the old capital city. Through the entry point of "Children of the Eight Banners", it takes the audience to see the whole vivid and real old capital at that time.

All kinds of people take turns to appear on the stage, the prince, the flag owner, the flag slave, the snuff bottle burner, the treasury soldier, the singer, and the dog's leg of the dog, all of them stand out. Rhyme, absolutely flawless.

When Yi Qing was watching it in his previous life, he especially liked the three-point joke in it, the seven-point demon king Jiuye, who appeared only three or four times, and each time was impressive.

I took the lead sheep to drink tea, and was charged double tea money. At that time, I kept my face down. The next day, I drove a large group of sheep to the teahouse. I waved at hundreds of sheep and shouted "everybody, come on", which was really funny. so fun.

Yi Qing almost burst into tears at that time, especially after Jiuye turned the teahouse upside down, he said to his servants, "Let them count and see what is broken, and we will pay him twice. Be careful, One coin is missing, watch out for your head!"

Live like a devil in chaos.

Compared with many outstanding supporting roles, Wu Shibao played by the leading actor Chen Daoming did not leave a deep impression on Yi Qing.

In the story, Wu Shibao carried a birdcage to listen to operas in old teahouses all day long, watched street performers juggling diabolo, and played with octagonal drums to sing "Eight Immortals' Birthday" at Duanwangfu.

The little days seem to be living carefree and carefree, but in fact, they are self-aware, even in the eyes of those who call him "father", at most it is a joy.

At the end of the Qing Dynasty and the beginning of the Republic of China, this kind of people could be seen everywhere in the capital. Their clothes could be filthy, they could eat rough food, and they could walk around like a car. To put it bluntly, they were poor and poor. , Going to mess around in various scenes, but when something happens, he just slips away. Seeing that the prince is really leaning down and saying "slave", and really meeting a slave, it's so awesome.

Wu Shibao is such a person, and he just looks decent.

If life goes on so peacefully, Wu Shibao probably lives in the illusion of the glory of his ancestors for the rest of his life, which is not bad.

But soon, his "good" life no longer existed. He was killed and imprisoned for a moment of conceit, and his wife was tricked by a traitor to give it to the Japanese in order to save her husband. In Shichahai, which is full of river lanterns, there is a master Nie who is a master of making pots with one hand. He angrily mutilated his arm for not being a national slave. Fate closely linked these two tragic figures. After he was released from prison, Wu Shibao was taken in by Master Nie. Master Nie also taught Wu Shibao his unique knowledge of pot making.

At the end of the film, the Nie family decides to live in seclusion for the dignity of the nation and to avoid the troubled times. Parting farewell, Wu Shibao presents the first inner-painted teapot to his best friend Shouming since he became a teacher.

One side of the body of the pot is decorated with radishes, and the other side is engraved with Wang Changling's Qijue "Fu Rong Lou Sending Xin Jian": "Cold rain and river nights enter Wu, Pingming sees guests off in Chushan Gu. If relatives and friends in Luoyang ask each other, a piece of Bingxin is in the jade pot."

The artistic conception of the whole movie is sublimated immediately.

The whole movie gives people the feeling that they are telling stories with a smile, but they want to make the audience cry, which is very interesting.

With a little smile, looking at the half absurd, half miserable life, this is probably the attitude of the older generation.

Just like in the play, when Wu Shibao came out of prison and Shou Ye said when he took him to the bathhouse: "The house was also sold, and the money was gone. The grandma fell into Xu Huanzhang's way, suffered a loss in front of her eyes, and jumped into Shichahai , but, what can I do? You have to cheer up and be a human being!"

A few words have exhausted the inconstancy of the world and the vicissitudes of life.

Generally speaking, it is a good movie. On the way back, Yi Qing thought of this movie first. The job of transcribing is very simple, and the only troublesome thing is editing.

The director of the original version, Li Hanxiang, should have done a lot of homework when making this movie. The movie contains a lot of knowledge points about Qing history, flag customs, and folk customs of the old capital.

But in the end, the homework was not done well, and there were more mistakes in it, but compared with the Qing palace dramas that flew all over the world later, it is still much better.

After all, there was no joke about giving Gege to live in Shufangzhai. Anyone who knows a little bit knows that Shufangzhai is a theater in the corner of the Forbidden City, and only Aunt Qiongyao can act arrogantly. The name Fangzhai sounds nice and elegant, so it was used without research.

But Yi Qing had to correct some fallacies in "Children of the Eight Banners", otherwise, it would be easy to make jokes.

A few representative mistakes, for example, when referring to the Wu family, there was a passage saying that their family's ancestors were awarded the Xiao Riding School because of their military achievements.

The so-called world title refers to the title, which can be inherited from generation to generation, while the official position cannot be inherited from generation to generation, but there are actual jobs.

The Xiaoqi school is an official in the banner, not a worldly position, so it cannot be hereditary at all, so there is no such thing as "inherited".

According to the later information, someone told King Duan that Wu Shibao’s ancestor was Tuosha Lahafan. The fifth-rank official rank is the eighth rank among the nine ranks of official rank in the Qing Dynasty.

There is also the original name of Wushibao. In the play, he is said to be Urdu, and he is also said to be Uerya. In fact, neither Urdu nor Uerya existed in the Qing Dynasty. From the pronunciation From a different point of view, Wu Shibao's surname is likely to be Wu Ya's.

Li Hanxiang is a great director. If he makes these mistakes, no one will say anything, but if Yi Qing makes mistakes, he will probably attract countless accusations.

It only took half a day for Yi Qing to write the script of "Children of the Eight Banners", thinking in his heart that he got two cameras.

This can be regarded as making up for the bad influence he caused on the crew of the Red Mansion. Putting the written script aside, Yi Qing took out another stack of manuscript paper, and after a little thought, he wrote two large characters on the top manuscript paper - Chuntao.

Chapter 171 Minefield

Chapter 171 Minefield

In the end, Yi Qing couldn't hold back, and reached out to the restricted area. In fact, it is a restricted area, which is a bit serious, but discussing sexual relations is still a taboo topic in this era.

This story tells that Chuntao and Li Mao were scattered by bandits on their wedding night, fled from the countryside to the capital alone, and lived by picking through trash.

During the escape, Chuntao and Liu Xianggao got to know each other and lived together, but outsiders said they were "concubines". In the old capital city in the 20s, poor people didn't care much about other people's affairs. Enaiai persuaded them to apply for the official household registration of husband and wife, but Chuntao was unwilling.

A few years later, Chuntao passed by a small city next to Shichahai one day, and heard someone calling her nickname. She was surprised to see a man with no legs and a disheveled face sitting on the ground, looking at her beggingly.

It turned out that this was Li Mao, whom she had worshiped to the world and should be called her husband. She couldn't bear to see Li Mao starve to death on the street, so she took him home.

From then on, two men and one woman lived in a dilapidated house. In order to prevent themselves or any of them from living on the streets, the three of them tried their best to restrain themselves and try to accept this unacceptable reality.

But no matter how stubbornly Chuntao insisted that "the three of us will live like this", both men hoped that Chuntao would have a normal home.

Liu Xianggao finally left, and Chuntao realized that she loved him at this moment, and ran out to find him desperately.When she returned home with disappointment, she found that Li Mao had hanged herself again. She rescued him, and they were called brother and sister ever since.

Soon, Liu Xianggao, driven by love and conscience, returned to Chuntao, and Li Mao felt gratified for their reunion.

In the original movie, there is a scene where the heroine Chun Tao bares her back, which is nothing in later generations, but in this era, the male and female protagonists in "Love in Lushan" can stab a bunch of people's lungs with a kiss on the face The tube, the halter is estimated to be no less than detonating a million-yield nuclear bomb.

Yi Qing has the guts to write, it depends on whether Meng Shi has the guts to shoot.

Yi Qing had only watched the original movie once in her previous life. At that time, it was because of the male and female protagonists of this movie. After "Furong Town", Liu Xiaoqing and Jiang Wen played husband and wife again. , obviously more natural and more open, which can be seen from Liu Xiaoqing's almost naked bathing scene not long after the opening of the film.

For the grasp of the role, Liu Xiaoqing can be said to have dedicated her peak state, especially when she perfectly expressed Chuntao's kind, stubborn, affectionate and righteous character.

And as a big-name star, Liu Xiaoqing played the role of a rag-picker in the film, dressed in rags all day long, and had to carry a big basket on his back to collect the rags, which was really not easy.

However, what is worthy of appreciation is that the role of Chuntao in the film is no longer the image of a woman who relies on men for everything in the past, but has a strong sense of independence and independent personality.

This can be clearly seen from her sentence in the film: "I am not anyone's wife, I am mine."