Taking the little people’s ideal persistence as the eye of the play, and using the type of ancient costume and spy war as the loom, the wind of "Wind Up in Longxi" blew up.
Author: and song
Chen Gong, a spy on three sides, gave his life for the overall situation; Li Yan, who lost power, re-examined the development of Shu; Xun Xu, who knows all the truth, will go to Soochow to set up a new spy network. ……
On May 7th, the spy war of the Three Kingdoms in "The Wind Rises in Longxi" came to an end, and the finale explained the fate of all the characters. Also, through the dialogue between Xun Xu and Chen Gong, the "trap" that runs through the whole play was resumed, and Chen Gong was lonely and brave, which made the emotional concentration of the play reach a climax.
Since its launch, the plot and emotional impact of "The Wind Rises in Longxi" have been the key to attract audiences. The drama uses ancient costume and spy war as a kind of nesting machine, taking the fall of the street pavilion as a guide, and dissects the intelligence war between Shu Han and Cao Wei from two little people, Chen Gong and Xun Xu. After life and death, love and hate, they still abide by loyalty, just as director Lu Yang explained to them, "In the face of difficulties, little people can make heroic choices."
High-density narration, showing the tension of spy war in ancient costume
Compared with most types of dramas, spy war dramas require more details, drama concentration and story depth. The characters often stir up the times in the dark and reveal the brilliance of human nature in the narrow gap of existence. In order to meet the characteristics of this type of drama, such as spectacle, strong plot and profound conception, many classic spy war dramas on the screen, such as Vow Silent, Hidden, Kite and Pretender, choose to expand the spy sea in troubled times.
Accustomed to the silent battlefield in modern history, "The Wind Rises in Longxi" sets the story in the Three Kingdoms, focusing on the secret confrontation of small people under the torrent of the times, which can be said to meet the audience’s innovative expectations for spy war dramas to some extent.
In a spy war between Shu Han and Cao Wei, the main characters’ multiple identities kept switching, and there was a struggle between the enemy and me. The ups and downs of characters experience made the story ups and downs and the narrative was extremely compact.
The design of long lines and short lines in the play has played a new role in "storytelling". Finding out that Candle dragon, a Cao Wei spy lurking in Shu Han, is a long term, while breaking the bureau after the exposure of Bai Di, obstructing the Qing Ping plan of Cao Wei’s intelligence department and cleaning the secret network of Cao Wei’s intelligence department are short term.
The wiring and winding of short stories are not procrastinating, and each line is relatively independent and clear. As a whole, it is complex and wonderful without losing logic. On social media, some netizens described the drama-chasing experience as "the pleasure of rising and falling, and sweeping with the stand".
The high-density narrative of "The Wind Rises in Longxi" challenges the double-speed playing habits of current netizens, and makes the audience slow down actively with wonderful foreshadowing. In this reversal spy war, the title of each episode, the dialogue between characters and even some small shots are "hidden mystery". Some viewers have found that some bridges that are difficult to clarify at first can find the answer after two or even three brushes. For example, Chen Gong replaced Cao Wei’s identity as an intelligence agent, but he was able to quickly match the secret code with the roadside driver, laying the groundwork for his reversal as a second-generation "Candle dragon"; After the news of the death of a generation of "Candle dragon" arrived, the camera turned to Feng Ying, the head of the intelligence service. It is self-evident who moved the hand …
Color, light and shadow, props, etc. also assist the story. The turquoise tone of Nanzheng in Shu Han and the grayish yellow tone of Tianshui in Cao Wei help the audience distinguish the regional differences; Men’s beard was an aesthetic and fashion in the Three Kingdoms period, and the beard styles and lengths of different male characters in the play coincided with their personality and status. There are not many props in the indoor scene. Production designer Han Zhong explained, "In the era of frequent wars, people are displaced and the scenery is simple, so the traditional aesthetics of’ sparse and impenetrable’ is chosen to run through the whole drama."
A forbearing and enthusiastic person with insight.
Lu Yang mentioned that he was attracted by the story "The Wind Rises in Longxi" not only because of the combination of spy war and the Three Kingdoms, but also because the little people in this era had no choice but to choose in such a fierce struggle environment.
In the play, the protagonists have no legendary appearance, no omniscient perspective and can’t open their "golden fingers". They should maintain a highly rational mental state in extremely complicated situations, "shield" real emotional fluctuations, and even the audience should hold their breath. A scene of where will you go, a husband and wife, is moving. While Chen Gong and his wife Zhai Yue were lurking at the same time, Zhai Yue was tortured to extract a confession after being exposed, and his life was soon over. Their last farewell was all about handing over information, and the sobs belonging to the husband and wife could only be hidden in the darkness.
The small emotion of "suddenly venting" in the details, even if it is subtle, also shows the strength of character. In a cold environment, it reveals warm colors. The protagonists are intelligence workers who must be heartless, but also ordinary people who are flesh and blood and have weaknesses that will be fragile.
In the thrilling contest and the plot of life and death, the emotional relationship between characters has also been adjusted to a certain extent. The brotherly relationship between Chen Gong and Xun Xu, the in-laws relationship between Feng Ying and Sun Ling, the uncle relationship between Guo Huai and Guo Gang, and the teacher-student friendship between Chen Gong and Li Yan are the emotional ties that connect long and short stories, and they also decode spy war and "intelligence workplace" from the perspective of social relations.
People can’t help themselves in troubled times, but it doesn’t mean that little people will be weakened in their ideals and beliefs. Chen Gong, the "chess eye" of the two countries, was never willing to be only a tool man. At the end of the story, he became a "chess player", seeking the optimal solution for everyone while completing his tasks, even if it was at the expense of his own life.
Sticking to the morality in one’s heart in one’s own way is an adventure, and it is also an amplification of ordinary people’s "fearless" and "promising". This is also the subtle empathy between the audience and the role.
Not only Chen Gong, but Xun Xu, who made a thorough investigation of the "Candle dragon" case, also reflected the stubborn but passionate side of most people.
Time goes back to Xun Xu’s involvement in the whole spy war. In the dark interrogation room, he was hanged upside down and drowned. He remembered the ordinary meal he had with his brother Chen Gong and his cousin Zhai Yue. At the dinner table, he (she) who had carried out intelligence work raised their glasses and agreed, "In order to stop fighting" and "For people like you and me to live a good life".
Taking this as an appointment, they rushed into the world where candlelight was swaying, but they could learn from sincerity.
If the narrative innovation of ancient costume and spy war type nesting makes The Wind Rises in Longxi attract the audience’s attention, then showing the emotional expression of little people who persist in their ideals and maintain their morality in troubled times will retain the audience’s heart to the greatest extent.
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