Do you think Alec Su's version of The Dragon Slayer is faithful to the original?

I bought the first twenty episodes of the new Eternity myself. Because it is expensive, I still bite my teeth when I pay, and I don't want to buy it all at once.

Let's talk about my personal impression of the new twenty episodes of Eternity.

First of all, about music

The music is good, although it doesn't have the shock and surprise brought by "A Smile is Beautiful" in those years, it is consistent with the style of the whole play on the whole and more suitable. Personally, I feel that the opening song is better than the ending song, especially the opening song written by Jin Haifeng has some shocking taste. Unfortunately, the last few words, which should be the climax, have become unintelligible. And the ending song is simply called "Falling in Love with Zhang Wuji", which is also very straightforward. It's a pity that there is "no other girls around". This simple and straightforward sentence is quite suitable for the youth idol drama, but it completely loses the classical charm and Jianghu atmosphere of the martial arts drama. I am inevitably a little disappointed in Chen Tao.

Second, about clothing, makeup and modeling.

Like music, the overall feeling is not bad. I like Xiao Zhao's makeup the least. Her hair is messy, her clothes are messy and she is crazy. Besides, whether it's an ugly girl who just came out of the closet or restored to her true colors, her face always makes people feel dirty, just like she didn't wash it. It turns out that actor Chen Xiuli has a round face. This makeup is even more obvious, and it is not as good as the image of Chingmy Yau in the movie version. The sarcoma on the head of the cloth bag monk is also very strange. And extinction. If you are addressed as a teacher, you should be a monk and a nun. The extinct teacher in the new Eternity is simply a gentleman.

In addition, I have been in Yan for 20 years and have not seen any aging. In any case, Yin Liting and Yang Xiao grew a moustache for 20 years to show the difference. Somehow, this Ding Minjun is as bright as ever.

Third, about screenwriters.

Alas, the script is really a great sorrow of the new Eternity. It's not that I emphasize that everything in the original is perfect and can't be modified. Recently, I also watched the 83rd edition of The Condor Heroes, only to find that there are great changes from the original, and many chapters are newly added or revised by the writers. But why didn't you care when you first saw it more than ten years ago? That is, although it seems that the plot is a bit stiff or even ridiculous now, it gives people a feeling that it is not too difficult to accept. After careful study, it is found that although these plots are different from the original, the character temperament, personality, tolerance and characteristics expressed through these plots are the same as the original. These are not achieved by technical means such as makeup, framing, art design, lighting, etc., but by whether the screenwriter can grasp the spirit of the original, whether the written words can be transformed into incisive and vivid lines, and whether the modified and added parts are naturally and smoothly integrated with the original style.

Screenplay has always been the bottleneck of domestic TV drama production. Many of our TV dramas are quite interesting, that is, the characters can't open their mouths to talk, and when they say it, they are so boring and so empty and pale (the problems of domestic youth idol dramas are the most obvious, and no one likes to watch them). The victory of Hong Kong dramas (especially those produced by wireless TV stations) lies in dialogue. In fact, most of the plot structures are similar, but the dialogues of those characters are lively and interesting, and the whole dramatic change is fascinating. The representatives in this respect are "A Wonderful Hand and a Kind Heart" and "Imperial Court No.1", which are almost entirely supported by dialogues between characters.

China is not without good writers, only a few writers who can talk. It's really rare, but there are only some types, such as martial arts, which I haven't discovered yet.

Let's go back to the new "eternal adversity". Alas, there is really only a sigh. Because of a pen written by a screenwriter, many characters' distinctive personalities have been weakened or simply erased. It is really evil, right or wrong. The most failed figures are the extinct teacher, Zhou Zhiruo and, as well as Yin and, all become neither fish nor fowl. The most ridiculous thing is Yang Buhui's age. I wonder what the screenwriter thinks. I wrote a passage between Heji and Ji into Meet with Yin Susu at the same time. As a result, Zhang Yin and Yang Ji were not married, but they achieved good things. Since then, Yang Ji has never seen each other again. I really don't know why Yang Buhui called Zhang Wuji "Brother Promise". Otherwise, is there anything green on Yang Xiao's head?

Fourth, about the role.

Personally, I think the script is the key to the success or failure of a play. When we write articles, we pay attention to having bones and flesh. This script is the skeleton of the play, and the actors' performances and other aspects are the meat part. Because the level of the new "Eternity" screenwriter is really hard to compliment. Without the hard performance of Alec Su and Zhang Guoli, several actresses are outstanding and eye-catching, which makes me really ugly.

I especially want to recommend Guo Feili, who plays Yin Susu. This is the best Yin Susu I have ever seen. She has both form and spirit, especially the scene of self-determination in Wudang Hall. Her eyes are full of blood and tears, strong and alert. I really regret it and admire it. It's not bad to play the extinct Yan Minqiu, but the characters in the script have great defects, which limit her play. And the actor who plays Zhang Sanfeng is also very impressive. Unfortunately, I didn't pay attention to the actors' names when watching movies, and other media didn't publicize them. I think it's a stranger, not the protagonist, and of course it's not within everyone's attention. But at first, I didn't think this Zhang Sanfeng had the natural majesty and great master temperament played by Bao Fang, but the more I looked back, the more I felt that this majesty and temperament gradually became stronger on him until Zhang Wuji reached a climax in Wudang Hall. In this scene, both Zhang Sanfeng and Zhang Wuji (Alec Su) performed well.

As for Yang Xiao, forget it.