At this point, it can be said that Zhai Jiao's misunderstanding of Shuanglong has been resolved.
Since Zhai Jiao learned that Shuanglong was not the culprit of harming Susu, but the one who saved Susu, because Zhai Jiao and Susu had a relationship with sisters, even if Shuanglong was not treated as guests of honor, they would not arrange Shuanglong to live in the woodshed. Outside the door, the soldiers were ordered to guard it, and they kept saying that they were humiliating the little thief and the little thief.
Not to mention whether this kind of hospitality is in line with her identity as a young lady in a powerful family, even Yu Susu is not having a good time.
She had been in trouble with Shuanglong, but she had no chance. When Chen Luoyan instructed the double-sided undercover to deliberately hand over the secret letter that framed Shuanglong to Zhai Jiao, Zhai Jiao immediately ordered the double-sided undercover to put the secret letter on the couch of Shuanglong's wood-room. She wanted to catch the thief and get the dirty smile, which was particularly meaningful.
Zhai Jiao's attitude of dislike and distrust of Shuanglong, who deliberately seeks trouble and makes things difficult for Shuanglong, was still in love when the initial misunderstanding was not resolved.
However, the misunderstanding has been eliminated, and his attitude towards Shuanglong is still so bad that it will inevitably leave a petty impression.
Some Hong Kong TV series like to play this fixed routine. The first impression is bad. For a long time, this impression will not change. They have always had prejudices and keep making things difficult for them.
This reminds people of "The Legend of Qin", also adapted from Huang Yi's novel, in which Xiang Shaolong, played by Louis Koo, met Wu Tingfang, played by Xuan Xuan, in the lair of a horse bandit. Xiang Shaolong pretended to be flirting with her because he wanted to save her. Wu Tingfang had a very bad first impression of Xiang Shaolong.
For a long time since then, Wu Tingfang kept calling Xiang Shaolong lewd thief. Even Xiang Shaolong himself said that you always call me a lewd thief, but when did I lewd you!
Similar scenes are seen in many Hong Kong films. Unfortunately, more and more mainland screenwriters are beginning to be influenced by these fixed routines, allowing people to always see familiar strangers in various dramas.
This drama is not careful in the design and use of props, and there are constant bugs.
The secret letter handed to Zhai Jiao to frame Shuanglong was actually a modern envelope, with two words "secret letter" written on the envelope, and the envelope was not sealed.
Since it is a secret letter, the less conspicuous it is, the better. In this way, the practice of no silver here is to be afraid that the audience will not be able to see that this is a secret letter?
It's simply an insult to the audience's IQ.
Regarding ancient envelopes, the setting in the play is not rigorous at all!
China had envelopes before the Han Dynasty.
However, ancient envelopes are very different from the envelopes we use now.
Before the Han Dynasty, the envelope was two wooden boards carved into the shape of a carp, as a base and a cover, and the letter was sandwiched in the middle, and three thread grooves were carved on the wooden board to facilitate wrapping with a rope, then put on a square hole to tie it, and then sealing mud was added to the hole.
The bamboo, wood and bamboo slips of the Han Dynasty were sealed with mud and sent to the post station for transmission. Once the mud was found to be damaged and removed, the teleporter would be punished according to law.
During the Qin and Han dynasties, there was a collection of Yuefu poems called "The Great Wall of Drinking Horses", which mainly records the tragic situation of Qin Shihuang's construction of the Great Wall and forcibly recruiting a large number of males to serve, resulting in the tragic separation of his wife and children, and most of them missed his husband's love for his wife.
There is a five-character poem in it that says: The guest came from afar and left me with two carp; he called me to cook carp, and there was a simple book in it.What is the case in the book when you kneel down and read the plain books?The first thing I said was longing for a long time, and the next thing I said was a meal.The two carp in this poem does not really refer to two carp, but to a woodcut carp that is made up of two boards.
When I cook the carp, I untied the rope and opened the letter. There was a ruler in the book. When I opened the letter, I saw a letter written in plain silk.
This carp-shaped envelope has been passed down for a long time and has been imitated until the Tang Dynasty.
After the Tang Dynasty, there were special envelopes, but thick cocoons have been used as envelopes, with carp patterns painted on both sides.
Tang poet Li Bai has a poem saying: I sigh in the calligraphy, but I cannot keep my tears in my eyes.The seal mentioned here is a letter called sealed in ancient times, also known as sealed letters.
There is also a poem written by the Tang poet Wei Yingwu in "Answer to Cui Dushui" which often seals the simple letters and leaves, and is just in vain.
Later, envelopes were gradually widely used.
The envelopes from the Ming and Qing dynasties are roughly the same as those from modern times, but the writing methods are different. Both the front and back of the envelope are written, and there are different writing methods due to the different identity and status of the person who wrote the letter.
When the archers besieged the Twin Dragons, Kou Zhong blocked an arrow for Song Yuzhi. It was obvious that the arrow did not penetrate Kou Zhong's arm, but was just clamped by him.
As soon as the camera turned, the arrow automatically moved from Kou Zhong's armpit to Kou Zhong's arm.
The original legend of the Twin Dragons of the Tang Dynasty brought endless imagination to fans of novels and novels, but the new Tang Dynasty TV series only allowed novel fans to see one bloody plot after another, saw a sharp decline in the IQ of characters, and saw an inconsistent and loophole-filled plot.
British playwright William Shakespeare said that there are a thousand Hamlets in one thousand readers. Everyone has different feelings when watching the new Tang Dynasty.
No matter whether this drama is borrowed from the Golden Signboard of the Legend of the Two Dragons of the Tang Dynasty or changing to another name, we should not make some common sense and logical mistakes in the creation and portrayal of characters.
Regarding the changes to the original work of "The Legend of the Two Dragons of the Tang Dynasty: The Eternal Life", we will use the 2003 version of "Pingzhixia Film Record" to express my views when interviewing Mr. Liang Yusheng.
Mr. Liang told reporters: My original work is not unchangeable. I hope to express the artistic conception of the original work. The TV version basically expresses the artistic conception of my work, and the story is adapted more fully. Maybe it is a bit distorted. In fact, whether it is the description of feelings or martial arts, the original work has a feeling of sighing about life.
When filming the new Tang Dynasty, Huang Yi should be invited to write the screenwriter. Even if Huang Yi is not invited to write the screenwriter, he should also ask for his opinions and listen to his ideas.
If the production of special effects is restricted by technology, we can understand it.
We can also accept the deletion and merger of characters due to investment and returns and the length of production cycles.
Compared to these, it should not be difficult to put more effort into the screenwriter!
And "The Legend of the Two Dragons of the Tang Dynasty: The Eternal Life" seems to be just wrapped in the skin of the Two Dragons of the Tang Dynasty.
As for the original characters and basic story structure, I will abandon them all.
Therefore, as for the story of "The Legend of the Two Dragons of the Tang Dynasty" filmed by Wang Jing, it is definitely a destruction of the classics. Not to mention the restoration of the essence of the original work, even the version of "The Legend of the Two Dragons of the Tang Dynasty" by Lam Feng and Wu Zhuoxi is not as good as!
After Wang Jing said it briefly, she looked at Chen Hao with anticipation, hoping to get some praise from Chen Hao. After all, if Chen Hao was asked to star in "The Legend of the Two Dragons of the Tang Dynasty", it would be a simple filming of a TV series. I won’t mention the considerable profits, and I can even make this TV series a classic that is no less than "The No. 1 in the World"!
Since Zhai Jiao learned that Shuanglong was not the culprit of harming Susu, but the one who saved Susu, because Zhai Jiao and Susu had a relationship with sisters, even if Shuanglong was not treated as guests of honor, they would not arrange Shuanglong to live in the woodshed. Outside the door, the soldiers were ordered to guard it, and they kept saying that they were humiliating the little thief and the little thief.
Not to mention whether this kind of hospitality is in line with her identity as a young lady in a powerful family, even Yu Susu is not having a good time.
She had been in trouble with Shuanglong, but she had no chance. When Chen Luoyan instructed the double-sided undercover to deliberately hand over the secret letter that framed Shuanglong to Zhai Jiao, Zhai Jiao immediately ordered the double-sided undercover to put the secret letter on the couch of Shuanglong's wood-room. She wanted to catch the thief and get the dirty smile, which was particularly meaningful.
Zhai Jiao's attitude of dislike and distrust of Shuanglong, who deliberately seeks trouble and makes things difficult for Shuanglong, was still in love when the initial misunderstanding was not resolved.
However, the misunderstanding has been eliminated, and his attitude towards Shuanglong is still so bad that it will inevitably leave a petty impression.
Some Hong Kong TV series like to play this fixed routine. The first impression is bad. For a long time, this impression will not change. They have always had prejudices and keep making things difficult for them.
This reminds people of "The Legend of Qin", also adapted from Huang Yi's novel, in which Xiang Shaolong, played by Louis Koo, met Wu Tingfang, played by Xuan Xuan, in the lair of a horse bandit. Xiang Shaolong pretended to be flirting with her because he wanted to save her. Wu Tingfang had a very bad first impression of Xiang Shaolong.
For a long time since then, Wu Tingfang kept calling Xiang Shaolong lewd thief. Even Xiang Shaolong himself said that you always call me a lewd thief, but when did I lewd you!
Similar scenes are seen in many Hong Kong films. Unfortunately, more and more mainland screenwriters are beginning to be influenced by these fixed routines, allowing people to always see familiar strangers in various dramas.
This drama is not careful in the design and use of props, and there are constant bugs.
The secret letter handed to Zhai Jiao to frame Shuanglong was actually a modern envelope, with two words "secret letter" written on the envelope, and the envelope was not sealed.
Since it is a secret letter, the less conspicuous it is, the better. In this way, the practice of no silver here is to be afraid that the audience will not be able to see that this is a secret letter?
It's simply an insult to the audience's IQ.
Regarding ancient envelopes, the setting in the play is not rigorous at all!
China had envelopes before the Han Dynasty.
However, ancient envelopes are very different from the envelopes we use now.
Before the Han Dynasty, the envelope was two wooden boards carved into the shape of a carp, as a base and a cover, and the letter was sandwiched in the middle, and three thread grooves were carved on the wooden board to facilitate wrapping with a rope, then put on a square hole to tie it, and then sealing mud was added to the hole.
The bamboo, wood and bamboo slips of the Han Dynasty were sealed with mud and sent to the post station for transmission. Once the mud was found to be damaged and removed, the teleporter would be punished according to law.
During the Qin and Han dynasties, there was a collection of Yuefu poems called "The Great Wall of Drinking Horses", which mainly records the tragic situation of Qin Shihuang's construction of the Great Wall and forcibly recruiting a large number of males to serve, resulting in the tragic separation of his wife and children, and most of them missed his husband's love for his wife.
There is a five-character poem in it that says: The guest came from afar and left me with two carp; he called me to cook carp, and there was a simple book in it.What is the case in the book when you kneel down and read the plain books?The first thing I said was longing for a long time, and the next thing I said was a meal.The two carp in this poem does not really refer to two carp, but to a woodcut carp that is made up of two boards.
When I cook the carp, I untied the rope and opened the letter. There was a ruler in the book. When I opened the letter, I saw a letter written in plain silk.
This carp-shaped envelope has been passed down for a long time and has been imitated until the Tang Dynasty.
After the Tang Dynasty, there were special envelopes, but thick cocoons have been used as envelopes, with carp patterns painted on both sides.
Tang poet Li Bai has a poem saying: I sigh in the calligraphy, but I cannot keep my tears in my eyes.The seal mentioned here is a letter called sealed in ancient times, also known as sealed letters.
There is also a poem written by the Tang poet Wei Yingwu in "Answer to Cui Dushui" which often seals the simple letters and leaves, and is just in vain.
Later, envelopes were gradually widely used.
The envelopes from the Ming and Qing dynasties are roughly the same as those from modern times, but the writing methods are different. Both the front and back of the envelope are written, and there are different writing methods due to the different identity and status of the person who wrote the letter.
When the archers besieged the Twin Dragons, Kou Zhong blocked an arrow for Song Yuzhi. It was obvious that the arrow did not penetrate Kou Zhong's arm, but was just clamped by him.
As soon as the camera turned, the arrow automatically moved from Kou Zhong's armpit to Kou Zhong's arm.
The original legend of the Twin Dragons of the Tang Dynasty brought endless imagination to fans of novels and novels, but the new Tang Dynasty TV series only allowed novel fans to see one bloody plot after another, saw a sharp decline in the IQ of characters, and saw an inconsistent and loophole-filled plot.
British playwright William Shakespeare said that there are a thousand Hamlets in one thousand readers. Everyone has different feelings when watching the new Tang Dynasty.
No matter whether this drama is borrowed from the Golden Signboard of the Legend of the Two Dragons of the Tang Dynasty or changing to another name, we should not make some common sense and logical mistakes in the creation and portrayal of characters.
Regarding the changes to the original work of "The Legend of the Two Dragons of the Tang Dynasty: The Eternal Life", we will use the 2003 version of "Pingzhixia Film Record" to express my views when interviewing Mr. Liang Yusheng.
Mr. Liang told reporters: My original work is not unchangeable. I hope to express the artistic conception of the original work. The TV version basically expresses the artistic conception of my work, and the story is adapted more fully. Maybe it is a bit distorted. In fact, whether it is the description of feelings or martial arts, the original work has a feeling of sighing about life.
When filming the new Tang Dynasty, Huang Yi should be invited to write the screenwriter. Even if Huang Yi is not invited to write the screenwriter, he should also ask for his opinions and listen to his ideas.
If the production of special effects is restricted by technology, we can understand it.
We can also accept the deletion and merger of characters due to investment and returns and the length of production cycles.
Compared to these, it should not be difficult to put more effort into the screenwriter!
And "The Legend of the Two Dragons of the Tang Dynasty: The Eternal Life" seems to be just wrapped in the skin of the Two Dragons of the Tang Dynasty.
As for the original characters and basic story structure, I will abandon them all.
Therefore, as for the story of "The Legend of the Two Dragons of the Tang Dynasty" filmed by Wang Jing, it is definitely a destruction of the classics. Not to mention the restoration of the essence of the original work, even the version of "The Legend of the Two Dragons of the Tang Dynasty" by Lam Feng and Wu Zhuoxi is not as good as!
After Wang Jing said it briefly, she looked at Chen Hao with anticipation, hoping to get some praise from Chen Hao. After all, if Chen Hao was asked to star in "The Legend of the Two Dragons of the Tang Dynasty", it would be a simple filming of a TV series. I won’t mention the considerable profits, and I can even make this TV series a classic that is no less than "The No. 1 in the World"!
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