Why is there such a big gap between "20 Years Old" and the Korean version of "Strange Her"

I first watched the Korean version of "Weird Girl" and then the Chinese version of "20 Again." Because I already fully understand the plot, I focus more on the quality of the film itself.

After watching it, I feel that this film is not even an adaptation, but a complete remake. The plot, characters, narrative mode, etc. are almost exactly the same, giving a perfect case for comparing Chinese movies and Korean movies.

I have to admit that this movie is still very good. There are highlights in all aspects, including laughter, tears, plot, and aftertaste. After the remake, it still has a typical Korean style. But even so, I feel there are still obvious gaps in several aspects.

1. The gap between actors.

In the Chinese version, the actors who play the heroine and the old man next door can be said to have basically restored the original appearance of the Korean version. In addition, the performances of other characters are lacking, especially some scenes are very awkward. With fewer extras, the gap is even greater.

Like the elderly Shen Mengjun, although she uses a well-known actor, but after watching the whole scene, I feel that what she spent a lot of effort to portray is just one side of the original character: a stubborn, hypocritical, and arrogant old woman. . Apart from the pair of broken shoes, it was hard for me to tell that she was a strong woman who had suffered a lifetime of hardship and raised her children alone. She looked a bit like a pampered wife. This is inconsistent with the entire plot.

Although the actor who plays the heroine’s father is trying his best to play a silent and reserved university professor, his depth and helplessness remain on the surface. The scene where mother and son recognize each other in the hospital at the end is far different in intensity from Seong Dong-il in the Korean version.

There are also some extras. For example, among the photographers in Youth Photo Studio, the gap is even more obvious. It is simply the difference between professionals and amateurs.

2. The musical gap

In any case, this is still a movie about a singer.

In the Korean version, the heroine first showed her talents on a rainy day, quietly humming the song "Rain"; later during the audition, she passed the highly contagious song "White Bufferfly" 》, and the tragic experience of his life is dramatized, and the fit is almost perfect. When I was writing this article, I thought about it carefully again. It sounds really good and can be called a classic.

In the Chinese version, the only thing that I remember deeply is "Give Me a Kiss", which is an old song from ten years ago. At key points, the interludes that need to be written to match the plot can only be described as general. As for the climax of the song at the end, I almost wanted to cover my ears while listening to it. Not only does the melody have no highlights, it is also very noisy, as if it has not been processed in any way, and it is ear-piercing.

3. The gap in details

Korean dramas have always given people an aesthetic feeling. I used to think that this was a special shooting technique, but after comparison, I found that it was an attitude towards shooting. Through the perfect pursuit of details, Korean films elevate the final feeling presented to the audience to a new level.

There are countless details like this in the Korean version. Like a Fetion postman, a dog that suddenly stood up while adults were talking, a rope tying a child's feet, a plastic tube for blood transfusion, etc., these detailed descriptions only last half a second, but they can reflect special emotions. . In the Chinese version, except for a few scenes of "Huan Zhuge Ge" that were inserted purely for comedy, I had almost no other impressions.

In addition to this single screen in seconds, the Korean version handles some small plots very delicately. For example, the old lady walked around the market three times for a pair of shoes but was reluctant to buy them in the end, but generously gave pocket money to her grandson. This naturally set off an old lady who was very frugal to herself and unusually generous to her relatives. image. In the Chinese version, the plot of buying shoes was deleted, and the old lady changed from a cafe worker to a mahjong enthusiast who had nothing to do all day long. This personality image was completely covered up.

All the above mentioned together create the overall difference in the film. There are gaps in the three-dimensionality of its character creation and the sophistication of its film production. Weiyin completely preserved the plot of the Korean version and told a touching story in its entirety. It can barely be regarded as a good movie, at least better than those previous so-called blockbusters that were actually bad movies.

Having said all this, I am not actually trying to criticize our Chinese movies. However, the current situation of Chinese movies seems to be like the stock market between 2005 and 2007. As long as it is a movie, it doesn’t matter whether it has a plot, deep meaning, or makes people think. It just needs to create a script and find a few stars. After shooting two hours of film, once packaged, it will immediately earn good box office. There are bad movies every year, but this year there are especially many. There are movies like The Legend of the White-Haired Witch: Moonlight and Once Upon a Time in the Heroes (Wait a minute, there are too many to list), and even a variety show called Running Man has to be made into a movie version to attract money, which shows that the movie market is booming. However, a good market does not bring good films, but instead makes people lose their way.

What almost all filmmakers are thinking about now is how to make movies faster and make money. There is no higher pursuit. Looking back at the Chinese movies of 13 and 14 years from a further future, it will appear to be all gray. The yellow sand was flying all over the sky, but in the end nothing was left.

The movie market is also a market. If you pull out a cabbage from the ground, it can be sold for the same price as a carefully trimmed potted plant. Everyone will sell cabbage. Chinese film is already a broken market full of fake and shoddy products. It relies on the number of people to maintain its superficial prosperity, but it can hardly produce works that are eye-catching.

The hammer that breaks the game lies in the hands of the audience: only the audience has the ability to identify and select, so that real craftsmen can show their value and contribute to us higher-level works. But it is still a big unknown when everyone will get tired of such a nutritious market and hit it together.