He has a buzz cut and a floral shirt. His skin is rough and dark, and he often chews things in his mouth, and his temperament is a bit careless. This is Mo Sanmei in "The Great Events in Life" and Zhu Yilong.

Sohu Entertainment Special Article (Shan Jin/Text) This is not the Zhu Yilong we are common.

inch head, floral shirt, rough and dark skin, often chewing things in your mouth, and a bit careless temperament.

This is Mo Sanmei in " Life Events ", and it is also Zhu Yilong .

Zhu Yilong said that "The Great Events in Life" is a work that is very important to him. Congratulations, he seized this opportunity with a good performance and proved his plasticity as an actor.

Similarly, in today's difficult film market environment, as a domestic new film above the level, the release of "The Great Events of Life" is worthy of recognition.

However, we cannot ignore the problems exposed by the movie in the second half.

1 Zhu Yilong transformed into

The protagonist of "The Big Events in Life" Mo Sanmei is a with a ruffian .

He has been in the funeral industry with his father since he was a child, and was despised by outsiders and "eat the death of people"; he went to prison for his girlfriend, but was betrayed by his girlfriend after he came out; the biggest hope in life comes from a house his father is about to transfer to him.

This is a completely different character from Zhu Yilong.

on the screen/Zhu Yilong is the gentle and humble young master in "Knowing or Not", and the upright and innocent Lin Nansheng in " Rebel ", is charming and halo .

Zhu Yilong off the screen, Elegant, shy, restrained, and less talkative .

But Zhu Yilong played Mo Sanmei alive .

If he used his own temperament and skills to fit the role, then in "The Great Events in Life", he put down his burden, used his delicate performance and emotions to shape Mo Sanmei, and became Mo Sanmei. The shape of the surface of

is in the shape.

Zhu Yilong shaved his buzz head and gained weight, which is more in line with the role in terms of appearance.

When asked whether Zhu Yilong had a great impact on his appearance after shaving his head, the young actor Yang Youen said: "I think it's quite big. Because I feel that he is an ordinary person when walking on the street, and he is all and cannot recognize him as Zhu Yilong ."

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m3m0 Mo Sanmei really can't see any shadow of Zhu Yilong. He let go of himself, naturally and unrestrained.

There is a scene where Mo Sanmei teaches her children a lesson while eating. When he speaks, he can see food residues in his mouth, and when he is excited, he splashes out. This is not beautiful, but this is what Mo Sanmei would do.

Deeper shaping is similar.

Mo Sanmei's appearance can clearly see the character's personality.

He freely shuttled through the noisy alleys in the city, chewing things in his mouth, and took the paper burned to the dead on the ground and lit a cigarette with a hint of hostility in his eyes.

Mo Sanmei has a distinct personality. If she uses too much force, she will easily become over-acted, but Zhu Yilong is just right . His eyes, body movements, gestures of holding cigarettes, and even subtle expressions were accurate, natural and consistent with the character .

There are many performance details that require careful design.

For example, Producer han Yan said Zhu Yilong likes to spray a lot of sweat on his forehead . The summer in Wuhan is very hot. Mo Sanmei, who does not have air conditioning in the store, often needs to run around and carry coffins, should have fine sweat on her forehead.

In the movie, Zhu Yilong will lift his shirt and wipe his sweat, which is also very suitable for the role.

Another example is a scene where Mo Sanmei gave her father a drink. It was a very expensive bottle of wine, more than two thousand yuan. After he poured it for his father, he took it back and licked the bottle mouth.

This is a very natural, easy, and even somewhat inconspicuous action, but it reflects the character's personality very accurately - an ordinary citizen who bought a bottle of very expensive real wine and couldn't bear to waste a drop.

Zhu Yilong once said during a roadshow that he would meet local residents when he went to work. His uncle and aunt naturally greeted him in Wuhan dialect , "Zhu Yilong, you are back", "Come here to have something to eat after get off work today."

When on the set, Zhu Yilong would get along with the young actors like the real Mo Sanmei and Xiaowen, chatting, joking, and playing games naturally; when playing, Zhu Yilong would drive his legs to the car casually like Mo Sanmei.

This real relationship, real environment, and real experience also makes Mo Sanmei more real and vivid.

Zhu Yilong proved his plasticity as an actor with his extremely contrasting role and online acting skills.

2 The movie is good, but it can be better

Let’s talk about the movie itself - The previous wonderful thing was, but it finally collapsed.

The first half of the movie has a very rare realistic texture .

cramped alleys, noisy funerals, down-to-earth dialect, shabby vans, a funeralist who is dissatisfied with the status quo of life, and a little girl who has lost her grandmother.

handheld photography, close-ups, and quick editing reinforces the 's depressing, rapid, boring 's emotions.

The food that falls to the ground can be eaten for no more than three seconds, rub wounds with saliva, and play mahjong. These details give the movie the atmosphere of life.

On the other hand, the conflicts and conflicts of the first half of the story are also relatively clear.

Mo Sanmei wants to change the status quo, get her father's house, start a new life, while Xiaowen wants to find her grandmother. How the two achieve mutual salvation is the main line of the movie.

The director's handling of the progression of the relationship between two people is relatively mature.

From grandma, strange little girl to grandma dance partner, these three funerals are behind the layers of relationship between Mo Sanmei and Xiaowen. From opposition, reconciliation to help, the two gradually developed a bond of family affection, which is relatively smooth and natural, and closely related to the theme of funeral.

As for the grand and heavy proposition of death, the director handled it very much light .

Xiaowen accepted that her grandmother became a star and called the funeralist the "people who planted stars". The innocence of children and purely resolved the cruelty of death , allowing the movie to move towards warmth and healing.

corresponds to "people who grow stars", Mo Sanmei made her father's ashes into fireworks. This transforms a sad thing into a positive emotion, upward and blooming, adding a hint of to the funeral .

Life is nothing but death, and death may not be that scary. As the end of the movie reads, "Every star in the sky is someone who has loved us."

The problem lies in the second half of the movie.

In addition to the main line between Mo Sanmei and Xiaowen, the movie also has a side plot - The reconciliation between Mo Sanmei and her father .

Unfortunately, the main and branch lines of the movie are not well integrated together , basically in parallel state, each performs their own . The impression is similar to collage of the two movies "The Immortal" and "The Candy of White Rabbit".

Mo Sanmei learned from her father about plastic surgery, her father was hospitalized, her funeral, and setting off fireworks. These sub-plots accounted for a certain amount of space, but they basically had no connection with the main line of , and the main character Xiaowen often "disappeared" in the movie.

Because the two narrative lines are not well integrated, the front and back parts of the movie is divided . The second half of the plot presents fragmented , with only one plot and emotion, but no coherent story, and core dramatic contradictions.

This also led to the subsequent plot promotion basically relying on emergencies, while the transition depends on answering the phone , which is relatively stiff.

Xiaowen's biological mother suddenly appeared → Say Xiaowen and Mo Sanmei cried bitterly → received a call when she was crying, her father passed away → set off fireworks → received a call again after the fireworks, Xiaowen got lost → looked for Xiaowen.

sent away Xiaowen without any negotiation, chased cars in heavy rain, grabbed ashes, and set off fireworks. These are too hasty and strong conflicts , which to a certain extent eliminates the sense of reality created before, and a trace of dog blood is revealed.

This is probably a pity. It could have been better, but it stopped here.

But whether it is Zhu Yilong's transformation as an actor, Liu Jiangjiang's control as a new director, or the scarcity of "The Great Events of Life" in the current film market environment, it is still worthy of recognition. We also look forward to them bringing better works later.