Stills of “The Wind Rises in Longxi”
Author: Ai Zhijie
Following “The Twelve Hours in Chang’an”, “The Middle Game of Antiques” and “The Wind in Luoyang”, Ma Boyong’s “The Wind in Longxi” was put on the screen again. The play focuses on the espionage life of Chen Gong, Xun Xu and other minor figures in the big history with a structure of coexistence of reality and reality. With complex and contradictory emotional relationships, it connects the internal logic of the game between Shu and Wei in the evolution of history, and explores the value of life in historical narratives. .
At the beginning of “Feng Qi Longxi” landing on CCTV’s eight episodes, the series’ opening clues and color grading tendencies have caused discussions among some netizens. With the continuous fermentation of word-of-mouth and popularity after the series began, the series won Douban at the end of the series. With a good score of 7.9 points, he has reached the top of Maoyan TV series popularity six times, and the number of Weibo topic readings has also increased step by step, and has been included in the must-see list of “brain-burning dramas” by many viewers.
The word-of-mouth counter-attack of “The Wind in Longxi” is inseparable from its grand history and microscopic life, the artistic expression of spring and autumn justice and individual emotions, and the compatibility of life beliefs and human values.
Unravel the history and create a spy war drama in ancient costumes that coexists with reality
In the process of deconstructing and reconstructing the story of the Three Kingdoms, the creators strive to balance the relationship between historical reality and artistic fiction, life quality and spy war elements, drama and jokes, thus creating an ancient costume spy war drama that coexists with reality and reality. The characteristics of “Feng Qi Longxi” are mainly manifested in the following two aspects.
On the one hand, “respecting historical facts and artistic fiction” realizes perspective innovation in the bridging of big historical views and small figures. From “Romance of the Three Kingdoms” (1994), which focuses on the power struggle between Wei, Shu, and Wu in the late Eastern Han Dynasty, to “The Alliance of Counsellors” (2017), which is based on the Cao Pi brothers vying for the throne, the visual expressions of the Three Kingdoms often unfold in grand narratives. Rational gaze and profound reflection on history. In line with this heavy and dialectical view of history, “Feng Qi Longxi” takes Zhuge Liang’s Northern Expedition as the historical background and the investigation of the “Jieting Intelligence Case” as the narrative starting point to open up the turbulent, vertical and horizontal dispute between Shu and Wei. The difference is that the play does not linger on the well-known heroes and heroes of the Three Kingdoms in history, but selects the stories of Chen Gong, Xun Xu and other minor characters and rationalizes them under the premise of following the grand view of history. This narrative perspective, which combines pragmatic “real” and “virtual” construction, not only expands the expression space of TV dramas, but also shortens the aesthetic distance between audiences and historical figures.
On the other hand, “Costume and Spy War” seeks theme innovation in the balance of genre and anti-genre. With the interaction of mainstream values, market factors and popular culture, the exploration of spy war dramas has never stopped. The “Feng Qi Longxi”, which combines “ancient costume” and “spy war”, undoubtedly achieves the fusion of genres and breakthroughs in themes on this basis. In the play, the soundtrack full of national flavor, the simple and natural costumes and props, the unique terrain features and the male aesthetic tendency of “bearding”, all show the vigorous and simple temperament of the Three Kingdoms period.
In this field, Chen Gong, Xun Xu and others of Shu Han’s “Si Wen Cao” and Cao Wei’s “Jian Jun Si” penetrated into Shu Han’s “Candle Dragon” game duel, going through changes such as lurking, testing and sacrifice, and spying on the battle of the Three Kingdoms. Unpredictable espionage. Therefore, the ingenious fusion of the classical “stillness and simplicity” and the spy war’s “movement and miscellaneous” has become the key to the unique theme of “Feng Qi Longxi”.
Put history in love, describe the emotional logic of historical evolution
As an ancient costume spy war drama that “sees big history through small people”, “Feng Qi Longxi” uses two intelligence agencies of Shu Han’s “Si Wen Cao” and Cao Wei’s “Jian Jun Si” to build an intricate relationship between characters and shape the relationship between them. The founders of “Si Wencao” represented by Zhuge Liang, Li Yan, Yang Yi, etc., the managers of “Si Wencao” represented by Chen Gong, Xun Xu, Feng Ying, Yin Ji, Sun Ling, etc., and Guo Huai The managers of the “Jianjun Division” represented by , Guo Gang, Mi Chong, etc., and the female spies represented by Zhai Yue, Liu Ying, etc. Adhering to the creative concept of “historical possibility”, “The Wind in Longxi” actually depicts the group portraits of small people buried in the vast history.
In the face of many characters with multiple identities, the creators closely follow the emotional relationship full of tension, penetrate into the inner logic of the characters and a certain “cross-section” of history, highlighting the aesthetic paradigm of historical dramas “sending history in love”. The series has designed a number of characters relationship clues that treat each other with sincerity: Chen Gong and Xun Xu are a sincere and trustworthy brotherhood, Chen Gong can take risks to help Xun Xu Jinchan escape, Xun Xu can endure torture and keep Chen Gong’s plan; Zhai Yue and Zhai Yue are unswerving couples who are deeply in love. Zhai Yue cut himself off in order not to implicate Chen Gong, Chen Gong cut his pinky finger to commemorate Zhai Yue; Feng Ying and Sun Ling are in-laws that support each other.
The emotional entanglement of being both an enemy and a friend is also the magic stroke of “Feng Qi Longxi”. For example, Chen Gong is Guo Gang’s savior, but he is also a spy lurking around Guo Gang. They have experienced life and death together, but they have to put each other to death. Another example is Xun Xu and Gao Tangbing. They have worked together in “Si Wencao” for many years and have a deep friendship, but Gao Tangbing is a spy of Wei State and has been spying on Xun Xu for information. The master-disciple relationship between Li Yan and Chen Gong, the relationship between Xun Xu and Liu Ying’s bamboo flute, the hostile relationship between Mi Chong and Chen Gong’s exchange of identities, the creators tried to outline them with delicate brushstrokes. It is these long, complex and even contradictory emotional accumulations that endow “The Wind in Longxi” with its unique appeal, allowing the audience to feel the emotional logic in the evolution of history.
The quality and performance of actors also play an important role in the presentation and transmission of emotions. The most emotional scene in the play is “Zhai Yue died in Chen Gong’s arms”. Huang Yu sees through Zhai Yue’s spy status, and feeds him with an elixir. Zhai Yue knows that his life will be soon, and ends his life with a dagger covered with poison. Chen Kun uses a series of micro-expressions such as twitching mouth corners, hoarse voice and blue veins on his face to interpret the multi-layered emotions of helplessness, despair and reluctance, and portrays the image of a spy who has lost his beloved wife but must be calm and restrained. .
A metaphor for the history and the present, to realize the value guidance of the Three Kingdoms story
The essence of historical drama is not just to construct historical stories that are familiar to the audience or full of curiosity, but also to give the audience space to think and look back, stitch together positive values in the historical narrative, and elevate the realm. Individual life is based on righteousness, which is similar to the hit drama “Celebrating More Than Years”, which focuses on the innocent heart and firm ideals of the little man Fan Xian. Awe-inspiring.
Adhering to the mission and the righteousness of the world is the core meaning of “Feng Qi Longxi”: no matter what situation you are in, you must always pursue ideals and truth. The director tries to show the vitality of the little people. Even if they are deep in loneliness, fear and pain, they still have to stick to their mission and shine like a hero. In the play, Chen Gong, who was attacked by the enemy, kept his original intention and risked his own life to prove his innocence; Xun Xu, who was tortured, insisted on justice and kept his secrets tightly just to capture “Candle Dragon”. He would rather die than be framed and humiliated; Jinchuan, who was besieged by the Wei army, died heroically to protect Chen Gong’s identity; Mi Chong, who fell into a trap, fought alone against the Shu army; The last life force conveyed a message to Huang Yu; Sun Ling, who was timid by nature, held the bottom line and did not give in and drag Feng Ying down. It can be seen that, whether they are from the State of Shu or from the State of Wei, they always follow their own hearts. This strong sense of mission under the great history reflects the spirit of individual life.
And the spiritual pursuit of “the beauty of harmony lies in the harmony of differences” is also the belief conveyed by “Feng Qi Longxi”. This sentence comes from the dialogue between Xiahouxuan and Sima Yi during the Cao Wei period. It means that the governance of the country needs to be up and down, and you and I should help and promote each other. ” implementation path. In the play, Chen Gong’s resourcefulness and rationality, Xun Xu’s integrity and loyalty, Zhai Yue’s bravery and faith, and the indestructible emotional relationship between the three are the spiritual bonds surrounding this layer of meaning, which make the characters more plump and three-dimensional. .
The process of dialogue with contemporary audiences is also a process of continuous improvement in the quality of contemporary TV dramas. There is undeniably room for improvement in “The Wind in Longxi”. For example, the characters in the drama are slightly flawed, and the style of the ancient written language and the modern vernacular are mixed. . But the flaws do not hide the truth. The creator observes the life righteousness of the little people in the spy war of the Three Kingdoms, and condenses the courage to combine genres and breakthroughs in themes, which is enough to make “The Wind in Longxi” really take off.
(The author is a lecturer at the School of Literature, Suzhou University of Science and Technology, Ph.D. in Art)