How to evaluate the TV series Daming Dynasty 1566?

From a historical point of view, TV plays must be very different from the historical facts at that time, because directors and screenwriters did not come to restore history, and the audience did not come to see Lu He. If the audience really wants to entangle the real history, then they don't have to have a hard time with TV dramas. The ancestors left so many historical records specially for these people. There is 13 in the land alone, with a total of 2909 volumes.

In addition, I think the director and screenwriter must have a higher degree of thinking and understanding of history than most viewers, and the whole TV series has a strong historical atmosphere.

As far as clothing is concerned, although I haven't studied what the clothing in the Ming Dynasty really looks like, I don't think the clothing in the play has the taste of "props" on the actors, as if officials in the Ming Dynasty should do so. Relatively speaking, the costumes of Kangxi and Yongzheng dynasties were all dressed as props.

Secondly, the design of lines. Although the lines of "Ming Dynasty 1566" are not as classic as "Romance of the Three Kingdoms", I think it is still quite antique, and the screenwriter should have put a lot of effort into it. The biggest feature of the lines in the play is that each line is created for an exclusive role, and lines play a very important role in shaping the role. Yan Song's wily old fox, Yan Shifan's bossiness, Xu Jie's composure and flexibility, and high arch's resentment and integrity are all vividly expressed through lines. Everyone in the play has quite distinct personal characteristics, even those who are in the same camp are very different. The audience can even tell who said a line by looking at it without looking at the picture or listening to the sound.

There are lines that can stand the test, especially Jiajing's lines. The ministers in the play are trying to guess the real thoughts of the Sagrada Familia, and whoever guesses correctly will win. The audience is also speculating and worried about the characters in the play. This is really a first-class movie-watching experience that first-class directors, screenwriters and actors can give the audience.

The actor's performance can be said to be quite wonderful. Chen portrayed Jia Jing's image incisively and vividly. Other actors are said to be old-fashioned actors in the entertainment circle, and their solid acting skills are really not covered. Fortunately, the director didn't find any popular students, but I really don't like the acting skills of Feng and others in The Warrior Lanling.

Thirdly, the layout of the scene is only the light and shadow changes in the palace where Emperor Jiajing is located, as well as the various voices in the palace, as well as the debates, kneeling, confessions of various characters here, and the strange Tai Chi, all of which have an unspeakable beauty. I'm not a film major, so I can't express my professional opinions. But every time I see the scene in the palace and ponder the psychological struggle of the characters in the play, I feel that it is simply a kind of enjoyment.

There is also the progress of the plot. I can say that the story of Ming Dynasty 1566 is comparable to some American and English dramas. The development of the plot in the play can be said to be a link between the preceding and the following, and what is even more rare is the two-line development of the plot. The two central figures in the play are Jiajing and Hai Rui, who also represent the development direction of two lines, one representing the central government and the other representing the local government. Hu Zongxian, Zhang,, and others are the connecting link between these two lines.

The plot can be switched back and forth between two lines, and the transition is natural. Although it seems to be separate, in fact, the two lines are intertwined and promote each other. Later, Harry went to Beijing, and the two lines merged into one, and the plot also ushered in a real climax. It can be said that the episodes after Harry went to Beijing are the essence of the whole play.

What's really rare about this play is that the director actually let it broadcast while the ball was on the sidelines (although it was not allowed to be broadcast on TV in the end). My first feeling after watching this drama is "This drama has not been banned".

The implication of reality in the play is obvious. Even if the director didn't mean it, I think most of the audience still saw the shadow of reality in this play.

The same internal and external troubles, the same corruption, the same power transfer, the same partisan strife, the same fisherman, just don't know if there is the same Harry.