有人说是因为档期。贺岁档包括元旦和几周后至关重要的新年档,中国最宏大的巨资电影都会赶在这期间上映。冯小刚导演一直是贺岁片,即欢庆新年的电影的代名词。节日期间,他常为观众献上适宜阖家观看的轻喜剧,如《非诚勿扰》。但是冯导演最近的一些作品非常严肃。2010年,《唐山大地震》上映,讲述了大地震中一对姐弟的故事,而今年12月上映的《温故1942》是关于中原地区战时饥荒的故事。同期上映的其他大片包括陆川导演的《王的盛宴》,影片讲述的是一个醉心权术的汉朝皇帝,基调之阴郁只比《1942》稍逊一点儿。而大部分观众寻求较为欢乐的影片,所以《泰囧》自然成为他们的选择。“今年的贺岁片,像《1942》和《王的盛宴》都充满了严肃的历史话题,压抑的气氛使观众感觉郁闷,”国营的中国文化报评论道,“《泰囧》的幽默搞笑很快就能让观众开心起来。”
Another popular theory among reviewers, social-media commenters and Chinese friends who have seen the film is that it cleaves to the experiences of average Chinese in a way that few films do successfully. The film is a successor to Lost on Journey, a send up of the tribulations that Chinese face each year when they travel home for the Chinese New Year. Lost in Thailand takes the same formula and transfers it abroad to one of Chinese tourists’ favorite destinations. Xu Lang, played by director Xu Zheng, is a savvy scientist transfixed on bringing his invention to market. He is racing his former friend and rival Gao Bo, played by actor Huang Bo, to find their boss at a rural Thai monastery to win approval of their respective development plans. On the flight, Xu meets Wang Bao, a simpleminded pancake maker from Beijing, clad in full tourist regalia, including the red hat from his tour group, and carrying a long list of goals for his voyage, including, of course, seeing Thai transvestites, or “ladyboys.” Wang, played by Wang Baoqiang, is something of a Chinese everyman, silly and easily mocked, wanting to photograph himself flashing a peace sign in front of everything, including the hotel chairs. But the obtuse pancake flipper has an honest heart and ultimately proves wiser than Xu or the comic villain Gao.
【时代杂志评《泰囧》:低俗小片如何成为中国最大票房黑马】相关文章:
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