should not be.
Gui LunmeiA female drama filmed after being silent for a while, that’s it?
This is the first feeling after watching her starring. It is said that she has prepared for three years of new drama " Taipei Women's Picture Book ".
Is it certainly possible to win as long as the title of the film is filled with the four words "Women's Illustration"?
, especially the cast of this drama is luxurious enough, all of which are good acting players with good reputation recently.
Gui Lunmei needs to be said to have a sense of incongruity in the play, from a newcomer in the workplace in the 20s to a successful OL mature woman in her career, her image and performance are not inconsistent.
In addition, there are also a group of Taiwanese drama acting skills such as Yang Jinhua , Zhang Xiaoquan , Xia Yuqiao , and other Taiwanese drama acting skills. They are known as the second crew of " A Handful of Green ". The soundtrack is still Rene Liu and Ding Dang.
Since " Huadian First Launched ", I have been looking forward to Yang Jinhua.
But it is such a rich ingredients, but it makes a dish that is hard to swallow.
This time, the Taiwanese drama is really " Renaissance ".
is not a positive meaning, but a negative meaning.
The first time I saw Taiwanese dramas so backward and outdated.
is obvious. "Taipei Women's Picture Book" is adapted from the 2016 Japanese drama " Tokyo Women's Picture Book ".
But the problem also lies in the word "adaptation". Both
cannot be copied directly.
can be seen from the title.
One is Tokyo and the other is Taipei.
Although Tokyo and Taipei both represent the imagination of a big city, the two places cannot be directly compared.
In the play, Taipei is a place where Tainan girl Lin Yishan ( Gui Lunmei) never forgets it.
Since she went to Taipei to visit her aunt in high school, like the girls in every small place, Taipei has become the carrier for her yearning for urban life.
And this yearning often starts with elegant urban women.
In Taipei, Yishan met an oncoming, confident urban woman, whose high heels suddenly broke.
Yishan sweated for her.
I saw the young lady calmly take out another shoe of the same style from her bag and elegantly change it back. The aunt next to
said, "Taipei girls go a lot, and I have encountered such a situation. I used three-second glue to stick it back."
or a high school student Yishan said to her aunt:
"Don't you think the girls in Taipei seem to be afraid of nothing?"
Hum?
is calm and ready for the broken heel. He is a very experienced workplace person. In the eyes of a little girl, she may be impressed by such calmness.
but it is interpreted as "no fear of anything", which is too exaggerated.
The image of a Taipei girl comes from a pair of broken heels.
The derogatory response to a Tainan girl is only based on a blush.
After graduation, Yishan finally came to the city of her dream, Taipei.
She went to the interview and gave a very heavy blush. She looked very rustic.
But the interviewer can speak with one makeup, and your makeup is not like a Taipei person.
Tainan=Tiannan?
Impression is stereotype .
And Yishan's route of working hard in big cities is also a fixed paradigm for exploring big cities:
is reluctant to take a taxi and squeeze into the subway every day;
Houses are expensive, so you can only share a cheap house;
Finally found your first job, but found that your colleague is a company's relationship household and was treated unfairly by your boss.
all set off. How difficult it is for Yishan to live here, how much she wants to stay in Taipei, and what an out of reach of Taipei.
But the most puzzled point is.
In the play, there is no strong sense of difference between the urban scenes of Taipei and Tainan.
Taipei on the street is as down-to-earth as Tainan.
This is why I say that Taipei and Tokyo cannot be directly benchmarked.
Taipei in the play has no obvious distinction between classes and no extremely differentiated lifestyle.
More precisely, this drama does not present such huge contrasts and differences.
But there is Tokyo in "Tokyo Women's Picture Book".
In "Tokyo Women's Picture Book", the heroine's living residence is constantly changing. Every time she changes, it corresponds to the characteristics of a district in Tokyo, a way of life, and even more a kind of identity.
From the down-to-earth and lifelike Sanxuan Tea House, after promotion and salary increase, moved to the fashionable and European-style Ebishou. After his career continued to rise, the heroine moved to the Ginza , which is one of the three prosperous centers in the world, along with Fifth Avenue in New York and Champs-Elysées in Paris. Each of these three places,
, represents the further expansion of the heroine's desire and the gradual leap of the class. There is indeed such a typical difference between the
area and the area.
We like to watch Tokyo, New York and Paris because they can carry the imagination itself.
" Emily in Paris " can also get such high ratings as a sugar-water drama, because everyone still has filters for Paris. I am also interested in the integration of different cultures in a foreigner who travels to Paris, even if it is a stereotype.
piao also has a good impression of Taipei.
But it seems that it is quite infuriating, not that far from reach.
It is of course sufficient to represent an urban and commercial lifestyle, but it is not suitable to be regarded as a place of birth to a desire with strict barriers, distinct classes, and huge gap between the rich and the poor.
**The story of women's illustration style has always attracted people to remake.
As early as a few years ago, mainland dramas remake two versions: " Shanghai Women's Picture Book " and " Beijing Women's Picture Book ".
No matter which version, it tells the story of a woman who came out of a small place and worked hard in a big city.
such as: "Tokyo Women's Picture Book", the heroine goes from Akita to Tokyo; "Shanghai Women's Picture Book", from Anhui to Shanghai; "Beijing Women's Picture Book", the heroine goes from Chengdu to Beijing; "Taipei Women's Picture Book", from Tainan to Taipei.
The growth line of the heroine is:
How to take root in big cities and how to fight monsters and upgrade.
In other words, they need to have a sense of strength and desire. After the heroine of the Beijing version and the Shanghai version of the heroine took root in big cities, their pain seemed to come from men and brand-name bags.
"Beijing Women's Picture Book", the heroine changed the computer screensaver to an LV.
The fuse of the breakup came from the boyfriend giving himself an LV skirt instead of an LV bag.
Desire to have a luxury, and of course it is also a symbol and a manifestation of desire.
But it represents the recognition of others.
In other words, in these two dramas, the heroine's desire comes from the recognition of others.
And more advanced desires cannot only have external symbols.
The pain of the heroine in "Tokyo Women's Picture Book" comes from herself.
She has many desires, and she lost herself in the process of realization.
The heroine became a senior executive of the company, dressed in bright clothes, and married a man with a choice of choices.
I originally thought that my husband was a man who respected women, but I found that some of the feminist discourses he said were taught by marriage experts during blind dates.
After divorce, I was nearly forty years old. I worked hard in Tokyo until the end and found that I had no circle of my own.
Losing her marriage, she has no children, no matter which class she is in, she cannot integrate into.
The female boss who the heroine later met later represents a completely opposite voice from the mainstream.
The female boss said that in 1985, Japan enacted an employment equality bill, and women are no longer only worthy of serving tea and pouring water in the company.
Now, after a generation of women's struggle, the girls are now backwards, all thinking about getting married well, and just thinking about getting along with each other every day.
On the one hand, she refuted the mainstream society’s definition of women’s success, and on the other hand, she invisibly pointed out the direction for the confused heroine.
It is these women with different opinions and different life experiences that have pushed this drama to another level.
Moreover, in the "Tokyo Women's Picture Book", men are neither scumbags nor symbols of love.
Every boyfriend of the heroine is a symbol of her desire and identity.
They are not very rigid and bad. Every breakup of the heroine is just driven by inner desire and has nothing to do with love.
has a detail.
When the heroine seems to have begun to get used to ordinary people and living a stable and happy life with her boyfriend.
One day, she woke up next to her boyfriend and picked up a pair of underwear that she had worn to the fluffy ball from the narrow bed.
She suddenly realized:
If it is such ordinary happiness, you can also get it in Akita. Why are you here in Tokyo?
is not because of the bad boyfriend, but this relationship can only represent yourself at this stage.
doesn’t want to tear it up, nor does it want to change the other person. They just silently follow their inner desires and arrive on the next journey.
But the Taipei version of Gui Lunmei's desire was filmed as a "boyfriend exchange competition".
The boyfriend is good at everything, suddenly told Lin Yishan that he hopes Lin Yishan will resign and become the owner of his noodle shop.
Lin Yishan was unwilling to give up, so she made up her mind to break up.
In today's today when feminism is more obvious, if you are not careful, you will fall into a trap:
Why do you have to witness the growth of women? Men must be there to be men present and driven by men?
talks about the desire of women in small towns to work hard in big cities. Compared with the original version, in these other versions, women's definition of success and pursuit of desire are too narrow and superficial.
But what makes people feel most behind is actually the theme of this drama.
"Tokyo Women's Picture Book" was launched in 2016. The clever thing about the Shanghai and Beijing versions is that they set the time when the heroine graduated in 2008, but the Taipei Women's Picture Book is still invisible at all, so it can only be understood as the filming is now. Why do we need to mention the time point?
Because the story of girls from small towns working hard in big cities can only happen in the stage of rapid development of the city.
At that time, everyone still had many beautiful imaginations about big cities, and the gap between small places and big cities was also relatively large.
Only in such a social context can it be established that it is difficult for a girl in a small town to integrate into a big city.
But if you look at such a narrative from today's perspective, it would be different.
really makes people feel: it's too backward.
You should know that in recent years, there have been many dramas about returning from cities to rural areas and from Taipei to Tainan.
Not everyone must squeeze into the Tianlong Kingdom.
For example, " Vulgar Female Development Records ".
does not emphasize how difficult it is for Tainan people to integrate into Taipei, but only writes that Chen Jiayi suffered from unemployment and heartbreak at the age of 39, and left Taipei directly and returned to her hometown.
such as "Yongjiuganzai Shop".
was originally the male protagonist of the Taipei workplace elite. He returned to his hometown to take over Grandpa’s Ganzai Shop.
The so-called Ganzai store is a convenience store.
If it weren't for its family heritage, the only Ganzai shop in village might have disappeared.
When "escape from Beijing, Shanghai and Guangzhou" and "escape from involuntary", the desire to work from small places to big cities has no longer become the trend of the times, and everyone's beautiful imagination of big cities has been disenchanted.
This Taiwanese drama is still being filmed - I am from ×× (small place). I envy the bright lights and wine of big cities, and how difficult it is for me to stay.
is a bit scented. What is even more behind
is that the "Taipei Women's Picture Book" also summarizes women with different life experiences into labels.
"Risk Woman" Yang Jinhua, "Metropolitan Woman" Tianxin , "Still-minded Woman" Lian Yu Han , "Decisive Woman" Lu Mingjun, "Manipulation Woman" Zhang Jinglan , "Random Woman" Yao Yiti ", straightforward Woman" Li Peiyu , "Avant-garde Woman" Zeng Kaixuan...
completely took the "women's illustration book" into a "women's symbol illustration book".
I'm not saying that I can't shoot urban dramas.
instead, I want to discuss how stories like "women in the city" should be told today.
Today's good urban dramas rarely emphasize the difference and connection between small places and big cities, but instead.
drill into the city and write a real urban life story.
For example, at the beginning of " Twenty No Confused 2", the four heroines' life and work status after graduation, without emphasizing their background, nor their small local identities.
just writes about their confusion three years after graduation.
My colleagues are driving to and from get off work every day, how can I refuse?
What should I do if my boss robs the results of your hard work?
These are all specific stories and scenes that resonate with details and the audience.
The city has its own urban life rhythm, habits and behavioral logic.
It will make people fall into a situation, a situation with urban characteristics.
Fast pace, sense of distance, fierce competition, clear division of interests...
no longer simplifies the city into a glamorous symbol or an object of desire, but restores it to a background and environment of life.
In 1985, director Yang Dechang and starring Hou Hsiao-hsien and Cai Qin , Taipei is filming in a fast-urbanized Taipei.
only requires two scenarios.
One is on the side of the road. The protagonist played by Tsai Qin wants to cross the road and walk to the husband's car played by Hou Hsiao-hsien.
She waited and waited, and cars rushed past her. The cars racing against time did not make people at all. She couldn't wait for the opportunity to cross the road.
Another scene is Cai Qin's architect boss looking at the emerging buildings lined with them outside the window and sighing:
"I am increasingly unable to distinguish these houses. They are designed by me, not me. With me, without me, it seems that it is becoming less and less important."
The rapid development of the city brings people confusion, loss and powerlessness, movies in the 1980s have already captured.
Now in 2022, the sensitivity of "Taipei Women's Picture Book" to the city is far behind that of the movies in the 1980s.
's sense of smell of the times is not as good as a mainland drama like "Twenty Not Confused".
The only meaning may be:
From this outdated perspective, we find that the story of a girl entering the city has been completely rewritten and disgraced.
In the increasingly exhausted moment, what we prefer to hear is that if you can’t roll, then go home.
And the city has also lost its gorgeous skin and is no longer the object of desire.
instead reveals its mottled and real inner.
has even become a situation that people want to escape.
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