The series "Little Alley Families" has premiered, and unsurprisingly, it is another high-quality period drama produced by Noon Sunshine. The story is set in the late 1970s, during the restoration of the college entrance examination and the return of educated youth to the cities. It uses the lives of a cotton spinning factory as a focal point to showcase the neighborhood life of two families amidst significant societal changes: the warm-hearted and just Song Ying (played by Jiang Xin) and the patient and virtuous Huang Ling (played by Yan Ni), who become close friends and navigate the ups and downs of life together. The experiences of these two women give rise to two families and several households in the alley, intricately portraying the lives of ordinary people.
Poster of "Little Alley Families"
Director Zhang Kaizhou is a well-known figure among those with a slight familiarity with Chinese dramas, having directed acclaimed works like "The River Flows East" and "Know It or Not, It Should Be Fat and Red," which remain fan favorites for countless online viewers. His series age like fine wine, gaining even more appreciation over time, and has even become more celebrated in the current drought of domestic family dramas. His recent hit "Splendid Anning" has even been dubbed a "replacement" for "Know It," attracting viewers with its relatable characters and clinching top spots on various charts. Moreover, his "The Children of the Qiao Family" has also served as a rich source of inspiration for a multitude of content creators on platforms like Bilibili.
Zhang Kaizhou excels at handling both imagery and emotion with remarkable delicacy. Watching "Little Alley Families," one sometimes feels transported back to "The Children of the Qiao Family," as a wealth of character relationships unfolded primarily through familial ties without heavy plot stimuli. Yet the viewer remains thoroughly engaged, thanks to the characters' dynamics. Simultaneously, the visual style recalls contemporary "Know It," with a unique lighting approach that stands out in the initial night scenes across various settings.
Zhang skillfully utilizes natural and low-light conditions, rendering everyday settings warm and layered. Each small alley and window seems to tell a tale of bygone days, infused with a nostalgic essence (who hasn't felt the sting of the tide of overly simplistic lighting that floods domestic dramas over the past two years?). His cinematography employs no unnecessary techniques but consistently evokes a gentle, homely atmosphere.
Personally, it seems evident that Zhang Kaizhou has greatly improved as a director over the years, from "He Has Arrived, Please Close Your Eyes" to "Know It," "Qing Ping Le," and now "Little Alley Families," particularly in his management of camera work and actor performance. Interested viewers might find it worthwhile to revisit those earlier dramas to see the progress for themselves.
Still from "Little Alley Families"
In recent years, it’s clear that Zhang Kaizhou has a knack for slice-of-life dramas. Such stories often lack intense, plot-driven stimulation; instead, they thrive on the exquisite depiction of characters, crafting true and moving arcs, capturing the profound beauty in seemingly trivial moments in daily life, and portraying heartfelt interactions among people. It requires substantial creative skill and a refined sensitivity to emotions and character nuances—qualities Zhang possesses. His works typically do not chase flashy techniques (one can’t help but mention the absurdities of certain directors who make headlines with outrageous visual tricks) but instead focus on infusing scenes with a palpable warmth.
Still from "Little Alley Families"
The script for "Little Alley Families" is adapted from Dami's novel of the same name, which offers a tender recollection of workers’ lives in the late 1970s. The series faithfully reflects authentic details of society at that time—from the restoration of college entrance exams to unit housing allocation and the return of educated youth to the cities. Audiences will recognize elements like snake gourds in the courtyards, children frolicking in the alleys, and the neighborly relationships where workers assist one another, making them feel immersed in that era. Such detail resonates deeply with viewers, invoking memories of their own childhood experiences and transporting them back to old streets rich with human warmth.
Still from "Little Alley Families"
On the acting front, the pairing of Yan Ni and Jiang Xin is very reassuring. Yan Ni plays Huang Ling, a patient and diligent woman who faces her husband’s naïve folly and the indifference of her in-laws but still manages to keep the household affairs in order. Jiang Xin portrays the lively and straightforward Song Ying, who is both warm-hearted and frank, creating a stark contrast with Huang Ling. The personality traits of both roles align closely with the actors themselves, enhancing their performances. Additionally, several child actors in the drama delivered commendable performances.
In the first episode, Song Ying, seeking to secure a house for her son's school convenience, resorts to some clever tactics against her boss. While she accomplishes her goal, she misses out on being selected as an "Advanced Worker" for the year. Though she acts nonchalant about it, she feels a pang of disappointment—only to be unexpectedly touched when her young son presents her with a hand-drawn certificate. This prompts an emotional tear, showcasing her pride. Jiang Xin expertly captures the nuances, presenting this stubborn, headstrong woman with heartfelt authenticity.
One particularly poignant shot features Song Ying holding her son’s award as she embraces him—not pulling him close to her chest, but instead leaning her head comfortably on his shoulder while he stands on the bed behind her. This moment beautifully inverses the protector and protected roles, adding to its emotional impact.
Still from "Little Alley Families"
Over the years, regardless of how the television market fluctuates, period dramas have remained a constant demand, and multiple critically acclaimed works like "Parents' Love," "Golden Marriage," "In This World," and "Coming and Going" have emerged. Why do these dramas continue to resonate with the Chinese audience? Perhaps it’s because they highlight shared aspects of humanity: the longing for familial bonds, deep love for life, and dedication to family responsibilities. In our fast-paced, high-pressure modern lives, this warmth and simplicity in human relationships offer a kind of emotional solace.
On one hand, mainstream values in our country consistently emphasize core family values and human connections. However, the internet has gradually altered social dynamics: while online interactions have burgeoned, real-life connections have become increasingly distant, leading people to isolate themselves within the towering confines of urban life. During such times, we find ourselves reminiscing about the familial warmth and neighborly support of bygone eras—those pure moments of human connection.
On the other hand, period dramas often showcase the impact of societal trends on individual destinies, prompting audiences to reflect on a long-lost way of life. For instance, during the current economic climate, who doesn’t reminisce about the spirited beginnings of the reform and opening-up policy, that vast potential for prosperity? The recent rise of internet narratives such as "Rebirth in the ’80s" and short video dramas stems from this retrospective sentiment.
While period dramas are undeniably our strong suit, there is still room for improvement in this genre across the East Asia region. The Korean "Reply" series (such as "Reply 1988") has set a standard for period dramas, achieving lasting popularity and acclaim across all age demographics. It delves deeply into character relationships, familial values, and societal mindsets of that time, evoking profound emotional resonance in viewers. In the "Reply" series, interactions between family members and neighbors reveal warmth and intricate complexities of human nature, appearing incredibly natural and relatable.
In contrast, while some Chinese period dramas put in great effort to establish historical ambience and recreate period scenarios, they can sometimes overly emphasize grand narrative arcs related to the times, neglecting the more nuanced and complex emotional interactions among characters. This often leads to predictable tropes of "grand ideals" and "overly virtuous" storytelling. Our period dramas could greatly benefit from focusing more on the subtleties of character and emotion, centering the narrative on the intricacies of everyday life and emotional expression, thereby enhancing its "human touch."
Moreover, our period dramas tend to fall into common pitfalls typical of slice-of-life narratives: dramatizing family conflicts and ethical dilemmas. For instance, Guo Xiaodong’s character Zhuang Chaoying in "Little Alley Families" embodies the archetypal "eldest son" of that era, characterized by deep-seated male chauvinism, excessive devotion to his parents, and unconditional support for his siblings, often at the expense of his wife and children, leading to many conflicts with his mother-in-law and showcasing gender bias. Such portrayals can be frustratingly familiar for viewers, trapping them in repetitive themes and leaving little room for alternative resolutions.
In contrast, the "Reply" series avoids melodramatic family struggles, opting instead for genuine and heartfelt emotional portrayals. This "de-dramatization" approach is highly challenging, necessitating an acute sensitivity to life’s details and an ability to recreate them. As audience demands for authenticity and nuanced emotional expression continue to rise, Chinese period dramas have ample opportunity to absorb strengths from globally acclaimed works in the same genre, delving even deeper into character, emotion, and atmosphere.
Still from "Little Alley Families"
From a content perspective, there remains ample space to explore how Chinese period dramas can integrate broader social perspectives into traditional family-centric narratives. Such a comprehensive approach not only resonates with the audience but also provokes reflection on different eras. In "Little Alley Families," we witness a kind of "gradual" exploration, as it presents not only the daily lives of ordinary people but also implicitly pays tribute to that era’s fervent spirit.
In summary, "Little Alley Families," like most period dramas, seeks to illustrate thousands of families through the lens of a few. Each character, every detail, and each dialogue seems to evoke some long-lost yet familiar emotion and memory, almost triggering the faint, musty smell of old yellow photographs lingering in one's mind. This authenticity and depth is precisely what fuels our enduring expectation and affection for period dramas.
