Comments by Bao Xiao and Sigh

After watching a film and television work carefully, I believe you will have a lot of feelings. It's time to calm down and write a review. Before writing a review, you can refer to the model essay. The following are my comments on Bao Xiao and Sigh, which are for your reference only and I hope they will help you.

The status of anti-war dramas in China, just like the status of sitcoms in American dramas, is not an ordinary "cow". A large number of productions, a long history, social concern and the aesthetic foundation of the masses have made this kind of drama accumulate rich creative experience and talents. Today, with the development of society, anti-war dramas are also seeking breakthroughs within the system. The emergence of a series of excellent anti-war dramas that try to be more humanized and comic makes the stylized development of anti-war dramas particularly rich and wonderful.

The stylized Anti-Japanese War drama directed by Shang Jing and starring Fan Wei, Mao Hai, Bao Xiao and Sigh is another genre. It's really about War of Resistance against Japanese Aggression, but Gravity focuses on the depiction of characters and the expression of human nature. There are few real anti-Japanese war scenes in the drama series, but in that background, the times show thousands of gestures of various characters in a small red war zone because of the historical changes of the pattern. Through the delicate depiction, it also reflects the big pattern of national grievances, family, fate, rights and conscience, and also shows the magnificent history of warlord scuffle, civil strife, War of Resistance against Japanese Aggression and the early days of the founding of the People's Republic of China with great ease and humor through the living conditions and changes of human nature of small people at the grassroots level.

Looking at Bao Xiao and Old Luck, we can feel the style charm of some sitcoms such as The Story of the Cooking Squad and The Legend of Wulin by Shang Jing: in a relatively narrow space, we can elaborate on little people and small events, express our feelings and reflect the big society. Compared with the sitcom mode of one episode and one short story, Shang Jing has made a breakthrough and development in the forms of expression of Bao Xiao and Sigh. The coherent and smooth presentation of the whole story proves that he can not only be small, but also have fun. Moreover, the portrayal of typical historical figures is even more unusual: the landlord Zhou Laocai in the play is quite exploitative and deceptive, but more often he shows his warmth and kindness, and he understands the righteousness; Although Guo is a brave and just little Red Army, he spends most of his time fooling around among the people.

The joys and sorrows of the characters in the play determine our joys and sorrows, especially Zhou Laocai and Guo, played by Mao Xiaoxue. Not only are the details handled properly, but while entertaining the audience, the two little people can occasionally come up with words of wisdom that are not rough. Zhou Laocai and Guo were originally a contradictory pair, but the series kept them inextricably linked with continuous accidents and bizarre events. It can be seen that many times, what they do is actually unintentional, but they have to do it out of compulsion and helplessness. Deliberately create characters to do things that don't conform to their own identity logic, and then through constant wits and wits between them, the multi-tone makes the play full of joy, but also full of the helplessness of grassroots figures in the changes of the times. Coupled with the context of a group of other excellent little people, how to linger, survive and make difficult choices when facing power, love, faith, desire, love and responsibility to relatives is portrayed very delicately, especially in life.

Among all the characters, Zhou Laocai is the most plump and three-dimensional one in the story, and Fan Wei has contributed a role that people hate, love and ponder. This role is like a true portrayal of every modern person from plane to three-dimensional, to reasonable, from disrespectful to lovely, to understanding the times and righteousness. Fan Wei also jumped out of the framework of the previous comedy model and became more lively and naughty, which made his comedy performance reach another height.

The characters are in line with the environment, the lines are in line with the times, and the story is in line with human nature, with flesh and blood and depth. In the era of national disaster, there were no gorgeous idol plots and bloody war scenes. Some small people look at society and this era. In the historical background of War of Resistance against Japanese Aggression, in the details of ordinary people's lives, they simply and practically tell us the value of life. What's more, it is still presented in the form of life comedy. This sincerity and innovation have opened up a new way for anti-war dramas with a sense of the times.