The burden of North and South comedians: The tone is a bit awkward and annoying

We saw two heavyweight "conscience comedies" at the same time, and it's okay to compare them, but what's really worth "worrying" is actually not the competition of box office transcripts or the differences in style. It's the fact that the current powerful comedy films can be so similar in terms of the big framework.

In the National Day box office of 1.85 billion yuan,"Charlotte Worry" and "Lost in Hong Kong" jointly contributed more than 50%, and "Charlotte Worry" came later to counterattack "Lost in Hong Kong" and became the champion in the season, which also gave these two comedies a little more inexplicable tug: they are both comedy themes, and they are also gold-sucking masters, and even the story routines are similar. It is nothing more than a prodigal son who returns and regains the love of his first wife.

However, in terms of overall temperament,"Lost in Hong Kong" and "Charlotte Worry" are completely different, with two tones. Xu Zheng, the director of "Lost in Hong Kong", was born in Shanghai and graduated from the Shanghai Theater Academy. Although he is not in great shape, he always dresses neatly wherever he goes, especially loving to do some small articles on his hat; the Kaixin Mahua team that produced "Charlotte Worries" is all full of crap. A group of people are playing a killing game backstage while fighting against the landlord. The accusation repeatedly mentioned at the press conference is that Shen Teng ate garlic before kissing Ma Li. If we delve deeper into it, we can trace the baggage and appearance of these two comedy films.

Character design: The crisis of belief of the elite versus the daydreams of the common people

After experiencing the box office myth of "Lost in Thailand", Xu Zheng is actually a bit stuck on a tiger. Before the birth of "Monster Hunt", he had a firm seat at the box office charts in mainland film history for a long time, and "Lost in Hong Kong" was always regarded as a sequel to "Lost in Thailand"-in fact, when "Lost in Thailand" linked the four words "Lost in Thailand" with the intention of borrowing the wind from "Lost in the Road"(Xu Zheng even fought with "Lost in the Road" because of these four words.) A lawsuit), even if "Lost in Hong Kong" now has only two words left, it will not be able to get rid of the shadow of its predecessor.

As early as in "People on a Lost Road", the role played by Xu Zheng was called "Boss", an "elite person" in the eyes of migrant worker brother Wang Baoqiang. This is also very consistent with the temperament of Xu Zheng, a Shanghainese: The sense of superiority of successful career and pride in being polite are brought to the extreme in "Lost in Thailand", and in "Lost in Hong Kong", they are elevated to an underwear giant with artistic dreams. This is a clever self-comparison, and perhaps Xu Zheng himself as a filmmaker. Xu Zheng himself has emphasized more than once: A movie with a good box office does not mean it is a bad movie. At present, he is most eager to prove this.

In contrast, although the Kaixin Mahua team is quite famous in the drama industry (or sketch industry), in Shen Teng's words, performing a drama for a lifetime may not be able to have the popularity of a blockbuster movie, because the drama is too small. Later, they appeared on the Spring Festival Gala, the funny units of local TV stations, and even talent shows like "Happy Comedian" just to spread the spirit of Kaixin Mahua. Shen Teng said that those who stick to the stage of drama have stubbornly chosen to be poor, and now their extension to other fields has something to do with the "ambition" to support their families.

"Charlotte Worries" looks like it is still a story of a poor career but a good wife at home. At first, he didn't know how to cherish it, but in the end, he returned to plain life with his good wife. Isn't this not a subtle self-comparison or self-mockery of the creator's potential "class consciousness"?

Element: Elderly Hong Kong Music vs. Spring Festival Gala-level saliva songs

Other than popular songs, perhaps there is nothing better to serve the nostalgia of movies. "Lost in Hong Kong" and "Charlotte Worries" simultaneously mentioned youthful memories, and also incorporated a large number of nostalgic golden songs, but the styles are still completely different.

From "The Legend of the Hungry Wolf" at the beginning to "The Great Wall Never Fall" at the end, from Chen Baiqiang and Lin Zixiang to Leslie Cheung and Alan Tam, Xu Zheng not only made a complete MV for "I Just Like You" while recalling his youth. In the middle and later stages, he also used classic songs by beyond, Zheng Yijian and others to highlight the mood. At the beginning of the release of "Lost in Hong Kong", major music apps launched "Lost in Hong Kong" interlude song lists. The most complete one has a total of 28 classic Hong Kong music songs. It is no wonder that many people born in the 1970s and 1980s go straight to KTV after watching movies. These songs exposed Xu Zheng's song list in his youth era (it seems that people who were keen on Cantonese songs at that time had a little foreign flavor), and also exposed his age, which was not a secret. Oh, by the way, ipod and mp3 were not yet popular in China at that time, and those who created the word "song list" were generally pirates.

In contrast, the nostalgic golden songs selected in "Charlotte Worries" are better integrated into the plot development. Charlotte, who plays guitar and sings in real life, returns to the past and takes the lead in singing the famous songs of Xu Wei, Park Shu, and Jay Chou. This is also the way Charlotte became famous in her dream. When selecting background music, songs such as "I Come to You in 1997" and "Meet in 1998" not only highlight the sense of the times in terms of lyrics and song names, but also exude a strong northern flavor in the song style. These drooling songs that appear on the stage and streets of the Spring Festival Gala, coupled with the filming location of Lushun, Liaoning, can be heard by just listening to the songs. The most amazing thing is the "Andy Lau" version of "Tuner", which uses Cantonese to interpret Zhao Benshan's "Rural Love Serenade". No matter how you listen to it, it feels like "Lost in Hong Kong" has been slapped in the face-in terms of his clever thoughts on choosing a song, Xu Zheng really lost a little.

The laugh point: Angry physical sprinting vs. intensive

rhetoric In dealing with baggage,"Lost in Hong Kong" and "Charlotte Worries" also show a mixture of south and north. In short, the former tends to be physical absurdity, while the latter focuses on chewing the lines.

Since the funny sex scene between Zhao Wei and Xu Zheng,"Lost in Hong Kong" has put a lot of effort into the characters 'limbs. The close-up of Zhao Wei and Xu Zheng's toes at the "climax moment" is an explosion of laughter at the beginning of the film. Afterwards, whether it was Xu Zheng's "iron-headed man" style or the trapeze in the mall,"Lost in Hong Kong" designed a large number of "action scenes" with hidden baggage. Even Lin Xue's ashes were blown away by a fan while paying homage to her late father. It was also a baggage full of dynamic and graphic sense. The most exciting thing is the high-altitude glass section at the end of the film. The ambitious Xu Zheng made this section on a large scale and had a lot of ingenuity. The balance and interlacing on a glass plate also vividly present the protagonist's life entanglement and final choice.

However, the laugh points of the lines in "Lost in Hong Kong" are not outstanding, and not many can be remembered. Most of them are to "anger" Xu Zheng and make his behavior extremely anxious. Coupled with Bao Beier's unlikeable character setting, it is not an exaggeration to say that the lines in "Lost in Hong Kong" are "more angry than happy". Fortunately, Xu Zheng was still advanced when checking the script. He did not abuse Internet buzzwords or copy jokes on the Internet. Therefore, no matter whether you think it was funny or not after watching "Lost in Hong Kong", you still have at least some integrity.

"Charlotte Worries" brings into full play the stage spirit of "words first" in the drama, and the comedy wisdom accumulated by the Kaixin Mahua team over the years cannot be underestimated. They spent the most on polishing their lines, and most of their jokes were concentrated between the lines. For example, the paragraph where the uncle downstairs "Ma Dong what, Ma Dong what?", Ma Dongmei also said that she "had inflammation of her tonsils" when she was in distress, and the text phrases interspersed with props such as "Xihong Shi" and "Kenkiki" are all effective and impressive.

Word games like "If you go to dinner alone and dress like chicken feathers, you are all classmates dress up chicken feathers" have always been Happy Mahua's specialty. Imagine that any Errenzhuan actor on Liu Laogen's big stage can stand on the stage and make the audience laugh for half an hour. Thinking of the cross talk under the overpass, it is said that the first thing in learning to tease and sing is to bite the words. The Hong Kong-style nonsense dynamic joy in "Lost in Hong Kong" really has its own flavor in comparison.

Future: Be a big tree or be willing to be a shade

person. The original schedule for "Charlotte Worries" was summer, but later it was temporarily changed to September 30, which was mistakenly released five days after "Lost in Hong Kong", which is somewhat challenging. meaning. The counterattack of "Charlotte Worries" during the National Day holiday and the film's attack on "Lost in Hong Kong" on major rating websites may have really caused Xu Zheng a little trouble. But even so,"Lost in Hong Kong" has now exceeded the 1.5 billion mark, and Xu Zheng has finally surpassed his "Lost in Thailand myth."

The myth of "Lost in Thailand" not only became a knot for Xu Zheng, but also triggered a large number of comedy cannon fodder. The success of "Charlotte Worry" is like "Lost in Thailand" back then, and like this summer's "Pancake Man". It's not difficult to make it happen, but what's difficult is how to do the second step. Note that it is not the "second part", but the "second step". "Lost in Hong Kong" is a shade person under the big tree of "Lost in Hong Kong", but we may all hope that the next move of Kaixin Mahua and Dapeng will be a new big tree. Wen/kiwi fruit

Editor: vian