In the early years, I read "Yangzhou Paintings", "Tokyo Dream Hualu" and "Wulin Old Stories". I like it very much. I like that they are written in the way of "listing", and the simple scenery information is written with a sense of rhythm and poetry. I prefer to hide it in The sigh from behind.

I thought the TV series "Meng Hualu" was a story derived from it, but I later found out that Guan Hanqing's drama was used as the starting point for the plot, and I followed it episode by episode.

  After reading "Menghualu" and the relevant comments, my impression is: Some people think that "Menghualu" is more detached in concept. In fact, "Menghualu" is not without origin, its narrative and Values ​​are inherited from southern opera, such as Yue Opera, Huangmei Opera, and later film and television dramas of the world, as well as dramas such as "The Legend of the New White Snake".

Southern opera, the core is "love culture", love and world feelings are the focus of the story, "Meng Hualu" and this tradition are in the same strain.

But our mainstream culture attaches great importance to grand discourse, and subtly accepts the awareness that such grand topics are more important. Once a story is discussed and described in more space, it will already be ranked second in people's minds.

  The audience initially thought that "Menghualu" also had a grand topic, especially in the life of women, but "Menghualu" actually did not have such a demand, and this should not be the task of this drama.

Whether it is a person or a drama, each has its own task, and it is good to complete your own task.

However, since 2021, there has been no phenomenon-level and nationally discussed works in the TV drama market, which makes people have expectations for the description of gender issues in "Meng Hualu" that are beyond what a TV drama should bear.

Under this gap in expectations, many problems have been magnified.

  The love model of Zhao Paner and Gu Qianfan in "Menghualu" is based on people's desire for safe love.

The costume dramas created by modern people are actually based on the times. They seem to be ancient stories. In fact, all places are saturated with modern thinking and aesthetics. To put it bluntly, all costume dramas are modern dramas.

The so-called ancient times, if presented as it is, no one can accept it.

  Zhao Paner, Sun Sanniang, and Song Yinzhang have all experienced emotional setbacks. These setbacks seem to have happened to women in ancient times, but if they change to today, they are actually completely true: domestic violence, identity deception, premarital debt concealment, family barriers, Class crossing and economic considerations.

Sun Sanniang was even abandoned by her husband and son at the same time.

This design has very strong practical significance.

  All these setbacks include all the security issues that women may encounter in marriage and love today.

Zhao Paner and several other women did not start falling in love from a blank sheet of paper, but started rebuilding their lives from a state of frustration.

Therefore, they represent a mature woman's approach to life and their view of love.

The setbacks they have experienced have led them to adopt different strategies when facing male suitors. They will not be blindly active or passive, and more importantly, they will spend more time before confirming the relationship. To examine each other, leave room for yourself, but also leave space for the other side.

That's why Gu Qianfan and Zhao Pan'er didn't get into the theme at the beginning, and they weren't even attracted to each other's appearance.

The way they get along is actually the way mature women expect to get along, and they all show appropriate standards, and even deliberately create some thresholds and some tests.

They know they use some tactics, they know the other party knows they use tactics, but both want the other to see it.

The frankness of the two people after confirming the relationship is also a strategy to break the previous barriers. This strategy is a way for mature people to identify each other. In short, safety is greater than passion, and the future is better than the present.

  This reconstruction, these female erotic strategies, is only possible in modern times.

Ancient women did not have these options.

Even for modern women, after rebuilding their life, especially their love life, they will go to a higher level. This possibility is not impossible, but it is very small.

Between this expectation and reality, is the plight of modern women.

  Gu Qianfan is affectionate and gentle. He is clearly an official in the ascending stage. He has great power in the world of power, but he always takes "love" as the driving force of his life, with "love" as the core and lover as the most important, not only caring and caring for his lover, but also Even her friends gave her close attention. This is not the state of official men in history, or even the state of Chinese men. This is the state of an ideal man.

His character setting, similar to the "girl girl" in Yue Opera, is a less aggressive and female-friendly character.

This ideal male is actually an ideal model that can only exist in modern and contemporary society.

In order to make the male identity of this de facto "little girl" less obvious, the script gave him some special attributes, such as the descendants of senior officials (external power), and the identity of a cruel official such as "Living Yama". These identities are actually his A bunker for the identity of "Little Girl".

This is not the ancient view of men, but the expectations of modern women for men.

  "Menghualu" shows a kind of classical love, which is innovative but does not deviate from the ancient setting; in the ancient setting, it analyzes modern problems, which is the need for the rationality of the story and the needs of mature female audiences .

Therefore, although the main audience of "Meng Hualu" is women, men may wish to take a good look at the show to understand what modern women's desires are, what are modern women's expectations, and why they put such desires on them in TV shows and online.

  I watched "Meng Hua Lu" relatively late. I didn't start watching it until the tenth episode aired, so I read a lot of comments first.

Based on the reviews, I thought it was a sweet pet story or a female romance, but when I actually watched it, it wasn't at all.

"Menghualu" is a love story, based on love, but in fact it is cross-genre.

The first five episodes basically used up the plot and characters of Guan Hanqing's original work, and the remaining parts are actually all original plots.

In order to enrich the plot, the suspense line brought out by Gu Qianfan, the officialdom struggle line, the "hat demon" and other plots have been added, which are basically original stories.

In addition, the details related to the official system and political structure of the Song Dynasty, as well as food, tea ceremony, clothing, temperament, occupation, trade, etc., are also worthy of consideration.

Moreover, these background knowledge are not simply interspersed, but are the motives for the occurrence of the plot, and are an important part of the driving force of the plot.

Doing this is very difficult.

For example, after the successful performance of Oiran Zhang Hao Hao, she was rewarded for parading in colorful clothes and riding a high-headed horse.

There are also about the impact of the "Hat Demon" incident on the political situation at that time, the potential crisis in southern trade, etc. Such details must not be purely imaginary, but can only be created on the basis of being very familiar with the life and customs of the Song Dynasty. .

The attentiveness of these details accumulates the richness of "Menghualu".

  Although "Menghualu" is centered on a love story, it also incorporates the practices of other types of dramas, alluding to some characters and events in Chinese history, but has been adjusted to match the setting and main line of "Menghualu" Stories come together.

After all, a 40-episode drama, even a relatively simplified script, has more than 600,000 words, and only a love story can't support it.

After Zhao Paner arrived in Tokyo, the content of socialized stories became more and more.

The tense case determination and struggle contrast and contrast with the love and entrepreneurship of four bright women.

Therefore, we don't have to dwell on certain points or focus only on the love line, we can take what we need, and assemble an ancient world and an imaginary Song Dynasty from the clues we feel.

  Han Songluo