Glory Times: Abandoning the main theme of the perfect script is easier to move people

“Glory Times”: Abandoning the main theme of the “perfect” script is easier to move people
On November 6, the anti-special criminal investigation drama “Glory Times” starring Zhang Yi and Huang Zhizhong ushered in a grand finale. The theater is represented by Zheng Chaoyang (Zhang Yishi) as the first generation of the People ‘s Public Security of China.During the continued destruction of the KMT’s potential spies represented by the “Taoyuan” action group, a story of arduous and diametric struggle was launched.Although the open ending of “Glory Times” has caused some viewers to question it, on the whole, there are still many remarkable things.Abandoning the “perfect agent” protagonist and setting up a spy warfare script as a mature film and television imitation has formed the basic framework of “using the perfect protagonist as the core, with the strong villains as the background, with strict logic as the main line, and the war martial arts as the background.”For example, in recent years, the popular spy dramas “Pretender”, “Kite”, and an earlier “Secret Count”, whether it is the Ming Family Er Mingtai played by Hu Ge, or Zheng Yaoxian played by Liu Yunlong, QianZhijiang is all set up by “perfect agents” who can have a sense of beauty and ability.In this type of spy war drama, the structure of the plot is micro. All the thrilling and thrilling plots, all the intriguing political tricks, and all the fierce battle scenes are all around this idealized perfect male hero.The director presented it to the audience first of all, a wise and courageous “solitary hero”, an uncompromising “perfect agent”, and then the turbulent era of the nation’s perilous war.This “perspective” plot design, while enlarging the protagonist’s charm aura, can also give the audience a sense of distance and strangeness on the ground.In the “Glory Era” stills, the characters took a “sinking” treatment.In “Glory Era”, the director adopted “dimensional reduction” and “sinking” treatment for the protagonist.What Zhang Yi presented to the audience is not an ideal “perfect agent”.On the contrary, the grass-rooted temperament of his body is both grounded and pleasing. The honest face that was placed on guard and found cunning from time to time minimizes the elimination of the “elite”, “high” in the traditional spy war drama.The sense of strangeness brought by “coldness” and “perfection” naturally replaces the sense of distance brought by “noble”, “sacrifice” and “belief” in the previous main melody film.Another feature of using “little characters” to present “big stories” and “Glory Times” is the use of “big stories” characters in the script structure.In the handling of stories and characters, the director takes the case of detecting the case of the Taoist action group of the Kuomintang secret agent before and after the founding of New China as the main story background. While portraying the process of the three protagonists Zheng Chaoyang, Hao Pingchuan and Bai Ling, there areHe is a Beijing-styled, well-trained old policeman who grew up from a young man to a public policeman, Chilala, and a lively image of many ordinary people such as the small things that started a new life after the brothel was rescued.The growth and change of these little people is a vivid portrayal of the development of the background of the times and the background of the story.The funny partner of Zheng Chaoyang and Hao Pingchuan, and Hao Pingchuan’s quarreling with many friends, are not only a kind of adjustment to the spoiling and spoiling of secret agents, but also make this secret war drama full of comedy elements and life atmosphere.”Glory Times” stills, tension leads to a life full of life.It is worth mentioning that the director did not put all the pen and ink on the personal performance of the protagonist in the anti-special traitor work of the capital public security, and did not leave a special pen and ink, interspersed with the synchronous sincerity movement that was carried out at the time, and woke upThe movement, as well as the civilian population in Beijing, and even some of the Kuomintang secret agents are disappointed with the old government and society, and yearned for the new regime and new life.In fact, the ideological and political work and the backwardness of the people are a major political advantage of our party’s anti-special traitor work before and after the founding of New China, and this is precisely what most spy warfare scripts that express personal heroism are missing.It should be said that this detailed treatment is not only a high restoration of the background of the social era, but also an accurate deduction of the title of the play “Glory Times”.Emotional dramas deal with restraint, but the open ending has caused controversy. The handling of emotional dramas in spy warfare dramas has always been a difficult classic problem.When there are fewer emotional dramas, the tension and excitement are inherent, and the calm and rigorous plot will be the place temperature; there are more emotional dramas, and there are suspicious suspects who delay the plot.For example, the prestigious “Pretender” and the recently popular “Jing Zhe”, which have almost and overweight emotional drama, have become the waterloo of many excellent spy war dramas.On this issue, the director noticed that there was a clear understanding.So we see that although Zheng Zhengyang and Bai Ling, the protagonist and the actor, gradually developed from mutual support to mutual appreciation and mutual sympathy in the process of solving the case, this feeling is still more restrained and forbearing than organizational discipline and work tasks.It wasn’t until the last episode of the farewell banquet that the two people’s feelings were formally publicly expressed, and then clicked to the end, even the last two people’s work assignments did not make specific explanations.Let the audience break their hearts for them.The emotional drama ends.Who is the migratory bird?Where will the train in the last scene go?In the treatment at the end, the director unexpectedly chose a bold and open ending. Is this treatment necessary?Does the clue left violate the ultimate way of supporting?Or is it just the director who is preparing for the sequel?I am afraid that there will be a thousand kinds of answers in the hearts of a thousand viewers.□ Lin Zhonglu (media person) Sauna Night Editor Wu Longzhen proofreading Liu Jun