In today’s film and television circles, when the word "high yield" is mentioned, Bao Beier may be the first name that comes to mind for many people. His figure frequently shuttles through all kinds of film and television works, and his output is staggering. Take this year for example, as of November, he has starred in six films, which is not all. It is said that according to the plan, almost ten works will be published by the end of the year. Moreover, this is just a movie. He has not left behind the online drama and the Internet University. Even when he checked on Douban, his film projects were all scheduled for 2030. Such a high yield is quite outstanding in the whole film and television industry.
However, high-yield returns to high-yield, but the quality of the works is really a long story. Most of the films he participated in, Douban scores fell steadily in the range of 4-6 points. It is not the kind of masterpiece that can make people marvel, but it is not so bad that it can’t be seen, so many people call him a "model worker" in the film and television industry.
Bao Beier’s working mode and the number of performances are very distinctive. He is like an indefatigable ox. When he works, he is called a hard worker, which is really a "desperate saburo" for internal entertainment. In terms of the types of drama, it is mainly comedy and crime drama. In comedies, he often chooses those cowardly characters to play, for example, in the performance of "Fat Agents", which is to make the audience laugh by performing such roles. In the crime drama, however, he changed himself and singled out the villains who were scolded and beaten. Since the "Big Man", he seems to have opened up this unique "deserved beating" drama. For example, in Violence, the evil villain he played forced a single mother to try to improve her fortune, and was finally beaten by a policewoman. This setting made the audience hate him and feel Japanese. Also, in "Fighting Black", he put on a wig to play a bad guy, which was dubbed by the audience as a "wig pervert", and he was also badly beaten, and the audience loved to see him being beaten, as if he could get a different kind of spiritual refreshing feeling from it.
Bao Beier also has his own preference in script selection. He either chooses the book with pure family fun in domestic comedies, or buys Korean copyright for remake. Take this year’s What’s in the Zoo as an example, which is a remake of the Korean film The Secret Zoo. The plot is basically a copy, telling the story of a timid man who is frustrated in the workplace. It is a coincidence that he wants to take over a zoo that is about to close down and then pretend to be an animal with his employees. The props in it are shoddy. Although they are labeled as hilarious, they are actually a group of third-rate actors who are tinkering around the edges, which is really lacking in originality.
Bao Beier also has his own "Wang Fried Group" in the field of comedy. Most of the members are northern funny actors who performed skits in their early years, such as Jia Bing, Pan Binlong, Qiao Shan, Song Xiaofeng, Xiao Shenyang and Wen Song. Together, they formed a low-cost combination, specializing in low-cost movies. The aesthetics of this kind of movies are really not very advanced, and the funny way is also relatively popular, that is, the kind of straightforward amusement. But don’t say that in the sinking market such as the third and fourth lines, there are really many viewers buying it. After all, for the audience in the sinking market, watching movies is just for fun, and it doesn’t need too many profound artistic connotations. Just like in some movie theaters in small counties, when this kind of movie is released, it can also attract many viewers to enter the theater. After watching it, everyone laughs and thinks that the ticket price is well spent.
When it comes to Bao Beier’s success, it really needs to be analyzed. He is undoubtedly a realist, with sober cognition and super action. He is well aware of his image and ability, unlike some actors, who are obviously not suitable for a certain type of role and have to bite the bullet and act. Bao Beier wouldn’t challenge those literary films. He knew that he couldn’t play the roles like Burning Winter and A Night Intoxicated by Spring Breeze, so he seized the roles of grassroots, diaosi counterattack and the wicked being beaten, and firmly rooted in his own field. Moreover, he also accurately grasped the audience’s aesthetics, knowing that the audience in the sinking market likes to watch such interesting and exciting fast-food movies, so he focuses on the sinking market and pays attention to the investment-income ratio to ensure that every work can earn more or less. Take his movie box office as an example. Although his works have a general reputation, with this quantitative output, the cumulative box office of his movies has actually exceeded 17 billion, and he has become a tens of billions of actors in the entertainment industry. However, there is really a question mark about the gold content of this 10 billion box office. Comparing the list of actors who broke the box office of 10 billion yuan this year, the top five are Shen Teng, Bo Huang, Jason Wu, Zhang Yi and Wang Baoqiang. These actors are well-known and their works are of high quality. Look at Chen Sicheng, the first director on the director’s list. It’s also because of quality works that people stand in that position. Therefore, Bao Beier’s success is more on the commercial level, and from the perspective of artistic value, it really needs to be improved.
Judging from Bao Beier’s film mode, there are indeed some problems. His works lack originality, and most of them are remakes or routines that have been verified by the market. Just like "What’s in the Zoo" mentioned earlier, it’s just a copy of a Korean film. Although it can reduce the cost and release the film quickly, it will not be good for the innovation and development of the whole film and television industry in the long run. Moreover, the quality of the works is uneven, and some films are just to make up the number, which is seriously insufficient in artistic depth. Paying too much attention to catering to the market and mass production leads to the lack of artistic value and innovation in movies. It’s like eating. If we eat fast food without nutrition every day, it will fill our stomachs, but it won’t do us any good. The same is true of film and television works. The audience needs not only something that can amuse them, but also good works with depth and innovation.
In short, Bao Beier’s development in the film and television industry is unique, and his high yield and commercial success can not be ignored. At the same time, we should also see the disadvantages of his film mode, hoping that the future film and television industry can pay more attention to the quality and innovation of works while ensuring the output, and bring more valuable audio-visual enjoyment to the audience.
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