Play a new rhyme, cultivate the best domestic romantic film White Snake this year

Special feature of 1905 film network Fulfill my wish,Worry for a thousand years,Just waiting for you to meet ……A number of new love films rushed to the beach in the past week. In the noise of crying and crying, almost no one expected it, and the word-of-mouth leader was actually a opera film.

For a long time, operas and movies have been "invisible" out of public view — — Its origin has become a knowledge point in history books, and its present situation is only presented in the nomination list of Golden Rooster Award. Except for the red model operas in memory, the general audience’s cognition of opera film is as little as the channels for watching them, let alone buying tickets in the cinema.

It was released for more than a week, and even though the box office was less than 5 million, White Snake’s steadily rising film-arranging ratio and the number of performances were still fermented by high reputation, which gave great confidence to the genre. Douban score steadily stands at a high level of 8.1, and this "love" that has passed through thousands of years has expanded a new discussion dimension for the story of The Legend of the White Snake.

A wave of 50% off, inky love.　From stage to image: aria, image and vision

Different from the general idea that opera film only takes "Zhezi Opera" into pieces, White Snake continues the whole structure of its Cantonese Opera stage version.

Between the prologue and the epilogue, the five folds that restore the original appearance of the legend are closely spread out, making famous scenes such as "Broken Bridge and Love", "Dragon Boat Festival Revealing", "Kunlun Stealing Grass" and "Water Flowing over Jinshan" become the main body of each fold aria.

As a new repertoire of Guangdong Cantonese Opera Theatre, the stage version of White Snake has made structural changes. Compared with the traditional Cantonese opera "Legend of the White Snake", "Love" is lighter in volume. Under the premise of ensuring the wonderful singing, it raises the highlights and improves the narrative efficiency.

Moving from the stage to the screen, time and space transform into a more free acousto-optic form, leaving more room for sublimation of the carefully edited aria.

In the lyric aria of love at first sight, the easy transformation of each other’s viewpoints is completed by the dazzling scene montage. From flying red in the rain to dancing under the moon, the quite smooth lens transition makes the continuous singing between lady white snake and Xu Xian decorated by Wen Ruqing fascinating.

The rotation that pushed their feelings to a climax in the moonlight made a friend of the author think of Hollywood musicals. Excluding the mentality of fans, this association is not unrelated to the breakthrough in visual effects technology and visual aesthetics.

When he was a guest on the program, Director White Snake said that in order to meet the current screen projection technology and the tastes of young audiences, the crew hired a visual effects team from Oceania to carry out adventurous visual packaging in addition to shooting in 4K HD.

According to the film results, such an "adventure" is successful and worthwhile. The fourth time, the water overflowed the Jinshan Mountain, and the urgency of dark clouds overwhelming the city between ink and wash complemented the innovative soundtrack that replaced the bangzi drums with western music elements, which pushed lady white snake’s rescue from visual danger to psychological struggle.

Traditional opera film’s lens orientation of "either panoramic view or large close-up", with flexible scheduling and composition full of design sense, has achieved aesthetic transition in the world of White Snake ink painting and painting. Although the enlargement of the big screen shows a certain texture of the shed, the rendering of the whole ink mist is still enough to make up for this shortcoming with the aftertaste of landscape poetry and painting.

From the virtual stage to the real screen, the changes made by Cantonese opera actors are not only the dilution of makeup, but also the corresponding adjustment of singing.

Accompanied by Chen Yao, a young composer, the influential new school musical form, the famous cast led by Zeng Xiaomin, a plum blossom award winner, paid more attention to life breath and emotional concentration in singing and speaking. A number of aria are not inferior to the charts, which has popular value.

The most amazing scene in the film is lady white snake, who is unwell after drinking realgar wine. He reflects his face scales in the mirror and conveys the panic that he is about to reveal himself. At that moment, the visual screen means really integrated the drama stage into the light and shadow of the times.

Drama light and shadow, a dream for a thousand years.　From feeding to rebirth: figure, blur and dream

From childhood memories of the Legend of the New White Snake to screen classics, and then to the masterpieces of the country in recent years, the story of The Legend of the White Snake, which is often seen, can always accommodate diverse image adaptation ideas. And the expressions with different colors always draw nutrients from the opera.

In addition to the most classic plain clothes of the White Snake, the most typical one is the swaying posture with the simulated snake in The Green Snake. To some extent, this is not only an imitation of nature, but also a reference to the figure of traditional Chinese opera.

As a vital layer of traditional Chinese opera, figure plays an irreplaceable role in expressing meaning on the stage. After hundreds of years of stage practice, the imitation of imitating nature has already gone deep into the essence of deduction.

If you carefully observe the posture of Bai Qing Er Snake in White Snake, you will find that no matter walking or fighting, as long as they are out of the static state, their movements follow the consciousness of streamline trajectory, and there is no contradiction within the framework of traditional Chinese opera.

When it comes to the ultimate presentation of the figure — — Among the four skills of "singing and doing beating", White Snake’s degree of reality is even more fascinating.

For the "tokenistic gesture" on the stage, the film creators not only package the special effects, but also speed up the battle rhythm by testing the actors’ "martial arts", which greatly enhances the continuity and appreciation of the images.

At present, as a kind of martial arts film which is well-known in the world, it started with the reference to the fighting posture in traditional Chinese opera.

He can be called a great director of the "literati martial arts" film, and he is the most authentic Beijing opera fan himself. In other classic films, he learned from the stage and paid attention to the artistic conception of martial arts scenes, which also greatly influenced later classics.

Even with visual effects and innovative means, the core of White Snake’s real attraction is the text of the legendary story polished for thousands of years, and the artistic style of Cantonese opera as a traditional opera in China. The traditional Chinese opera, which nurtured the martial arts genre, itself was the starting point of the birth of China’s films.

We can’t see the video for a long time, but we can also see the efforts of the film creators to make the opera enter the people’s homes in the Huangmei opera movies. The scene of the Leifeng Pagoda in Yongzheng reflects become a butterfly’s passing through the times in a moment, and it is also White Snake’s great love of feeding back the opera by means of movies.