Vietnamese scenario: Advantages and new winds
From more than a decade ago, the line Vietnamese television movies soon appeared and were popular with audiences. The audience enthusiastically received it. Thanks to the success of the original, many filmmakers have confidently produced films adapted from that script with the hope of bringing new but also “spiritual food”. close to the lives of the audience.
The success of Ugly Girl (original: You soy Betty la fea – Colombia) < em>Rainbow of Love (original: Family Glory – Korea)… opened the door to the appeal of later Vietnameseized series such as Living with mother-in-law (original: The Undersea Witch Novel – Chinese) The Judge (original:< em> Judge – Israel) The taste of love (original: Live for your children – Korea) Love the sunny days < /em>(original: Mother’s daughter – Korea).
However, not all Vietnamese films accept it. loved by the audience. In 2022 the movie Journal of Justice (original: The Good Wife – USA) was not accepted. The audience received it better than many other Vietnamese films.
It was expected to become a TV blockbuster with the participation of famous actors but with a “head of an elephant and tail of a mouse” script. With many absurd details, the film gradually “lost points” in the hearts of the audience.
Watching until the end, the audience still cannot help but wonder what the film’s journey of justice is? Aiming for justice. Which character is fair?… Although it was adapted from a famous American series, the film did not achieve the same success as the original.
It can be seen that Vietnamese filmmaking has blown a “cool breeze” into the entertainment market, opening up new directions for the country’s films while “hungry” for quality scripts. However, this is not a long-term direction.
Like Senior Lieutenant Colonel, writer and screenwriter Dr. Dao Trung Hieu shared with reporter Dan Tri: “The Vietnameseization of foreign films is an opportunity for us to approach good scripts and then creatively turn their own into them.
It is a collaboration and exchange in an advanced film industry. However, it is also a challenge that requires each filmmaker from screenwriter to director to constantly work trying to produce their own films that still attract viewers, because no matter how talented and creative Vietnamese is, it cannot avoid comparisons. lame”.
Pure Vietnamese script: Spiritual food needs innovation
In recent years, the development of Vietnamese television dramas has been linked to associated with works with family themes. Good Vietnamese films with purely Vietnamese scripts revolving around reflecting relationships or a series of problems in family life always attract audiences thanks to their closeness and familiarity. Moreover, this topic is not picky about the audience because they can easily accept it at any age or profession.
From Go home, children to Don’t make your mother angry. Our family is suddenly happy… it can be seen that family love and couple love are still topics with strong vitality. In the future, this topic can still be developed thanks to different stories.
However, Vietnamese television dramas still need scripts with new themes that reflect the whole story. face life’s problems.
Looking at the Korean drama market It can be seen that they own a treasure trove of films with attractive themes.
That is Strange Female Lawyer Woo Young Woo – a film about legal topics Korea; Hospital Playlist attracts with the theme of doctors; Penthouse revolves around the power struggle of the upper class; The Glory reflects the painful issue of school violence; Our Beloved Summer is loved thanks to its school youth films… Exploiting many different themes, but the family element is still cleverly integrated in these films, bringing messages humanity about the value of family for each person makes the audience unable to help but ponder.
It can be seen that in recent years Vietnamese television dramas are in a boom period. The audience’s reception also proves the appeal of Vietnamese films in recent times.
Now the audience’s spiritual food has been invested in and processed more carefully from the script stage. to the talented cast. However, in order for this “dish” to become more and more diverse with many different flavors, Vietnamese television dramas need many scripts that exploit a variety of topics surrounding life.
Beyond the topic Family films about rural topics, beautiful youth student life or historical crime… are completely capable of receiving recognition from the audience. We used to have Ahead is the sky May flowers Criminal police Village ghosts When the birds return… No matter what topic is exploited, closeness will be one of the important factors It is important to help keep the audience watching the movie.
People’s Artist Hoang Cuc shared with Dan Tri‘s reporter: “It is undeniable that Vietnamese dramas about family themes over the years Recently, it has attracted a large number of viewers thanks to its intimate and dramatic content, but movies are like food.
Where is the “golden script”?
Writer and screenwriter Trinh Thanh Nha said Many screenwriters, most of whom are young screenwriters of today’s Vietnamese television dramas, do not have enough literary knowledge (things they have heard and seen – PV) to perceive and answer social issues, including seemingly seemingly impossible situations. close to love stories and family stories… Therefore, they choose familiar realities to exploit, but if they exploit something too much and have a narrow vision, it is understandable that it becomes boring.
< p>Big topics such as history (even if not war), topics that require in-depth professional knowledge or are based on literary works that have been established in the literature are too much for them.
“I remember that previous scripts with difficult topics or adaptations of this type were all made by veteran screenwriters with considerable experience and experience. Nowadays, old screenwriters are either not invited or if invited, the royalties are too low to attract their enthusiasm.
Therefore changing the topic for Vietnamese television series is very difficult. With thousands of pages written for each full-length drama, it will indeed require hard and persistent labor. Therefore, young screenwriters will still be the main force and the quality of the content of course shows the true ability of the screenwriter.
I think that writing scripts for television series is essentially write a social novel. Without internal strength, you can’t do it” screenwriter Trinh Thanh Nha emphasized.
Screenwriter Dang Thieu Ngan once shared that she had the opportunity to work with a number of Korean screenwriters, including A-B-list screenwriter stars. According to her, the biggest difference is not the level of ability but the mindset. and conditions when creating.
“Simply they can make art in a professional environment when the entertainment industry is an important industry so their works are well-invested.< /p>
The writer knows how to balance emotions and how to cut them when there are countless good details in his head but he has to weigh and measure whether to write like that, where will the film crew find the context to borrow? How can we get enough props…
Because we don’t have synchronization and many elements are missing, there are things the scriptwriter wants but can’t put them all in the script” scriptwriter Dang Thieu Ngan said.
Screenwriter Trinh Thanh Nha gave the opinion that dramatic situations with expensive details sometimes do not require high production costs. But to think of those situations and details requires a superior level of screenwriter.
“There was once a comment that if the movie cinema needs an excellent director to If there is an excellent movie, a TV series, on the other hand, needs an excellent screenwriter for the movie to be successful.
The role of the screenwriter in a TV series ensures up to 80% of the content quality. content of the film. Because it requires thorough content management and strong creative skills of the screenwriter.
With the rather specific length of a television series, it is difficult for the director to can have absolute control over the film’s content, especially in conditions where the screenwriter writes, directs, and shoots to chase.
“Golden screenwriters” are unlikely to appear if the writers are exhausted. I did not have time to fill myself with extensive literary knowledge. Therefore, the golden script is of course difficult to appear,” said screenwriter Trinh Thanh Nha.
According to her, another important problem is that directors and producers do not dare to believe that they will There are films that exploit other good topics. Or because of limited budgets, they advocate exploiting stories about contemporary urban family topics but always hesitate to suggest more difficult topics such as cultural history. mountainous rural ethnic group…
“
