Many in the audience find Li's lines, including voiceover, very awkward because they are accustomed to the simplified dialogues of the early series. The current one sticks mostly to the words in the book and retains words whose meanings have changed. It is perhaps an understatement to say one needs at least a high school diploma to get what the characters are saying, and perhaps a college diploma to get the nuances behind the words.
One obvious advance over past treatments is the lavish look, with sets, props and costumes so elaborate they scream 18th-century Chinese aristocracy. It can be made only now and in the Chinese mainland. The popular early version has traces of that era when China was still reeling from the destruction of the "cultural revolution" (1966-76). And Hong Kong and Taiwan treatments have telltale signs of a tight budget, which is natural for private business operations.
But the Li Shaohong version has its quirks, or as many will insist, its inadequacies. First under attack is the makeup, which uses an opera-style head ornament for the aristocratic ladies. For me, it meant a harder time telling the numerous roles apart, especially for the opening episodes.
Then comes the cast. The biggest asset of the 1987 version was its cast, especially the principal roles, who were selected from all walks of life and possessed a striking resemblance to the depictions in the novel. The new version was preceded by a television contest show, yet the choices are uneven. Some main roles are divided into two parts, one for the early teen years and the other, for a few years older. Take Baoyu, the male lead. He is around 12 or 13 when the story unfurls. He often gets into his mother's or grandmother's embrace, yet his budding romance and his sexual blooming drive much of the plot. How can one actor be young enough to make everything about him innocent, yet old enough to convey the sexual undertones of the story?
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