Thank you "The Legend of An Le", it's been a long time since I had such an experience of breaking defenses in one episode. "The Legend of An Le" gathers first-line stars such as Di Lieba and Gong Jun. With the original production team of the popular drama "Shan He Ling", they filmed an ancient puppet show that combines the great achievements of old stalkers and spoils old stalkers.

"Legend of An Le" poster

The story tells the story of the two families of the Emperor Han who jointly created Dajing. Ten years ago, the Emperor's family was exterminated because of treason, but because of the crown prince's protection, an orphaned daughter, Emperor Ziyuan, was imprisoned in Daishan. Ten years later, when the prince was going to Jingnan to exterminate the pirates, he unexpectedly met a pretty water bandit who kept saying that he would not marry. The female water bandit called herself Ren Anle, took out 30,000 sailors, and went to the capital to seek employment for the prince. Of course, this Ren Anle is naturally the orphan girl of the imperial family who changed her identity and returned to Beijing for revenge.

Stills of "Legend of An Le"

The first scene of the first episode is the scene where the emperor's family is convicted and the whole family is punished. As soon as I heard that the family's surname is "Emperor", I can no longer expect any "serious costume drama" from this drama. , May I ask which dynasty and generation of emperors would allow a family of powerful officials with the surname "Di"? Not laughing out loud is already my greatest tolerance.

Looking down patiently, the whole family was killed, and the little heroine didn't cry or make trouble. It was barely understood that the screenwriter wanted to portray the heroine as courageous and brave since she was young, but without any sadness, it was outrageous. As the heroine's psychological motivation and important goal throughout the play, the hatred of the genocide has no shape for the heroine's family, the whole family is killed, and the death of each character is shot very evenly "Die any way you want"). After watching the whole scene, I don't know what kind of relatives are all the heroines, whether they are relatives, whether they are relatives, or the seven aunts and eight aunts. I don't even have the plot to show some family affection before death and shed a few tears. It feels like a bunch of extras, eager to "die" and rush to get a box lunch to finish work. They have no relationship or relationship with the heroine at all. How can the audience empathize with the heroine's blood feud?

Stills of "Legend of An Le"

I was just wondering, what is the rush for such an important scene, why can't it give enough emotion and pave the way for it? Looking back, I understand, I am anxious to let the heroine grow up quickly, and fall in love with the hero! Many years later, the male protagonist was ordered to suppress the pirates, but he did not lead his troops to fight. The majestic prince disguised himself as a scout, met the female protagonist by chance, and boarded the ship with the female protagonist to avoid the thieves. At this time, the shocking Wumao special effect appeared. ↓↓↓

Stills of "Legend of An Le"

You tell me this is the sea? I put up with it. But what happened to the anti-gravity acrobatic cutout performance where the heroine dragged a rope and turned countless times in 360 degrees in the air? ↓↓↓

Stills of "Legend of An Le"

It's unbelievable that in 2023, I can see this kind of special effects comparable to that of "A Lonely Love" in a big S+ production. In fact, I don't know how to do special effects and I don't have to, thank you.

Next, the heroine would fight casually, and the pirates would be wiped out, and the heroine would take her 30,000 sailors (water bandits) to the imperial court in exchange for the crown princess. Seeing this, I finally couldn't help laughing out loud. May I ask the screenwriter, what is the concept of 30,000 sailors? Zheng Chenggong only had more than 20,000 sailors to recover Taiwan. How did the heroine, a bandit leader, train an army of this size under the eyes of the emperor as an orphan? How much food and weapons are needed for a navy of this size? The screenwriter has no idea, and no one from the entire team has raised any questions?

Well, you are an ancient puppet show, so I don’t want to entangle you with the logic behind it, the logic on the surface of the plot: Does Emperor Dajing know about the existence of the 30,000 water bandits? If you know, what kind of pirate is the prince suppressing? The heroine, the 30,000 water bandits, is the serious trouble, right? have no idea? The 30,000 sailors with non-state armed forces in the sea area of the country have no idea, this Dajing can indeed perish, let it be destroyed.

Stills of "Legend of An Le"

The even more outrageous "asking for the position of princess with 30,000 sailors" also shocked my whole family. After the emperor learned of the request of this female water bandit with 30,000 sailors, the normal drama logic should be to spend 30,000 sailors After the master is in the bag, look for an opportunity to kill him. And the emperor only knew that the angry female bandit was blowing his beard and staring at him and wanted to beat his crown prince, Cabbage, and whether the 30,000 sailors recruited them, how to recruit them, how to reorganize them, how to control them, and I didn’t explain it. The bandits here have no suspicion or fear, this emperor, who do you look down on? ? You have such a big heart, why did you plan to kill the whole family of the emperor? ? Then, the emperor gave the bandit heroine an official position in the Ministry of Punishment, Ministry of Punishment! The Department of Justice and the Criminal Department! How prosperous are the descendants of the ancestral graves of the Gui Dynasty! How could such an outrageous emperor not perish yet!

Stills of "Legend of An Le"

The emperor, who is the heroine's biggest revenge target, is at this level, and the other villains naturally can't expect any tricks and schemes to come out. For example, for such a major matter as cheating in the imperial examination, the majestic Lord Hou opened the back door for his son, leaving all kinds of evidence, and his son even sent the answers all over the world, so public that he wished that the whole capital would know that he was cheating.

And all the villains' intelligence reduction serves to highlight the heroine's brilliance and prowess. The question is, if the villains are all at this level, how smart is the heroine? What is the difference between kindergarten small class and big class? It can be seen that the screenwriter intends for the heroine to "pretend to be a pig and eat a tiger", but the focus of these five words has always been on the last three words, not the first two words. Is it worth playing?

Forget it, what am I serious about? This is an ancient puppet after all. Then let's take a look at how your job of puppet show——emotional play is completed. The promotion of the show focuses on a "female A and male O". In the first episode, the heroine completes a series of actions on the hero from throwing down, boat slamming, undressing, and marriage proposal. It's close to the male protagonist, but to this extent, it can already be called sexual harassment. Since you have 30,000 sailors who have moved into Beijing to approach the royal family, what are you doing with this sexual harassment? You Jiji come to this kind of embarrassing teasing, but also speak righteously? ↓↓↓

Stills of "Legend of An Le"

So lady, what are you trying to molested ineffectively? Trying to gather some industrial saccharin? The embarrassment caused internal injuries to the audience?

Over the years, although the audience has been a little tired of the combination of "Ba Zong" and "Little White Flower", it is not too difficult for them to enjoy such a hard-won "female A and male O". Di Lieba is also considered to have rich experience in ancient puppets. Although his acting skills are routine, he is not too good. Gong Jun’s performance in "The Order of Mountains and Rivers" once surprised many audiences. Since the actor did not perform well in this group of characters ability, so this lack of tension, where is the problem?

Stills of "Legend of An Le"

The biggest problem in weaving the relationship between the characters in "The Legend of Anle" is not the routines. The routines are okay. The routines have been popular since ancient times. There are many popular costume dramas in recent years. There will be, but under the same routine, the difference lies in whether there is tension in the weaving of the main characters and the relationship between the characters, and the composition of the filming. Routine, in script creation, is a dramatic technique that serves the changes in the relationship between characters. Let’s not talk about vulgarity. The key point is whether it can effectively affect the changes in the relationship between characters, and the good-looking relationship between characters lies in the “misplacement”.

Take "Xing Han Brilliant", which is also an example of revenge by changing identities, Ling Buyi's hatred of life experience and pain of growing up all serve the "dislocation" of his identity. The dislocation of his true and false identities is the result of half his life. The source of pain, and this "misplaced" life experience has always been paved with reasonable flashbacks and supporting characters, making people feel and sympathize with its deep hatred and pain, and giving enough psychological motivation for its subsequent transformation and outbreak. "Dislocation" also brings reasonable abuse to the emotions of the hero and heroine.

Taking "Langya Bang" as an example, Mei Changsu's story also started from a "misplaced" identity. The strange grievances have been gradually revealed and pursued through various characters and plots in the plot, and unconsciously, the audience has deep sympathy for the Chi Yanjun and the Lin family. The emotions of Mei Changsu, Nihuang, and King Jing also met face to face due to "misplacement", which created a strong tension, "Obviously you are your good brother, but you treat him as a sinister counselor", which made the audience feel so ignorant. Regretted and anxious, looking forward to when they will meet each other. Mei Changsu's confrontation with the villains also made the audience nervous, worrying about when he would be discovered by the villains.

And "The Legend of An Le", the big stalk of changing identities and revenge, between the heroine's various actions in the capital and all kinds of communication with people, there is basically no effective suspense and crisis system, you can neither empathize with the heroine I don't worry about her identity being exposed, and I don't expect her to recognize her old friends. A big setting that runs through the whole play has become a nonsense in the text.

The original production team of "The Order of Mountains and Rivers" is reluctant to hand over such a work called "work". It can only be said that most of the problem lies in the script. The poor script is almost a common problem of many S+ big costumes in recent years. What else can I say? Many platform producers and producers believe in data, traffic, and big productions, but they don't believe in the truth that a script is the foundation of a play. Now is no longer the era when capital and hot money are pouring into the industry, and audiences have seen more real and good works. If you still want to use the "saving game" thinking to make quick money in dramas, don't blame the audience for not paying.