Zhen Xuan: Zhen Xuan, who just entered the palace, is dead. You forget that you killed her yourself, and your concubine is Niuhulu Zhen Xuan.

Emperor: I can't go back. I can't go back. I'm with you and Chunyuan. At that time, I could not go back. You hate poisoning me for 17 years old.

Zhen Xuan: Your Majesty is wise, but you can rest assured that if the male and female servants hate you again, they will take good care of Princess Jing. Sister Mei will be very happy if she knows that she and Wen's children have been loved by the emperor for many years.

Emperor: You poisonous woman, I will kill you.

Zhen Xuan: Compared with the killing of brothers and sisters by the emperor, male and female servants are willing to bow to the wind. I think it's better to give the emperor his own way than one of the ten.

Emperor: presumptuous, presumptuous, you really have an affair with Li Yun. How dare you? You plotted against me.

Zhen Xuan: I might as well tell the emperor that every moment after I returned to the palace and my contact with you made me feel sick. So is Ning 'an.

Emperor: Come, come, come, come, come.

Zhen Xuan: Somebody, the guards at the palace gate have been sent away by the male and female servants. Male and female servants are here, just as the emperor ordered. The emperor just drank ginseng chicken soup, and getting angry is not good for dragon body and Antai. It will only make the emperor calm down in five days, so the emperor will calm down.

Zhen Xuan: Shiro, it rained very little that year. You said you were the king of Guo Xian, but maybe from the beginning, you were wrong.

Extended data:

Creative background:

Zheng Xiaolong had never made a costume drama before directing The Queen of the Palace. He wanted to make a critical drama of Qing Dynasty for the audience, hoping that the audience could see the darkness of feudal society, including the misery of people living in feudal society.

The play is adapted from the novel The Queen of the Palace. The story itself is an overhead of the Zhou Dynasty. After the adaptation, it chose the practice of "landing". The screenwriter Wu watched War and Beauty and felt that although its plot was brilliant, its etiquette was not rigorous enough. She began to write her own court story at home, hoping to give consideration to plot, history and etiquette. The novel was written intermittently for three years before it was finished, and the script was written for a year and a half, and more than a dozen versions were changed. In order to "land" the original novel of Da Zhou, Wu chose the Qing Dynasty, which had the greatest restriction on human nature. The biggest difficulty in adaptation is to learn cruelty and start deleting many characters and plots in the original novel.

Role selection:

When choosing an actor, Zheng Xiaolong considers the actor by the role, that is, whether she has feelings for the role, not whether she is beautiful. Sun Liqi Mei Liu Hai, with a simple bun, wore a light national flag suit, which the director thought was very consistent with Zhen Xuan in the original work.

Chen Jianbin was chosen to play the emperor because the director thought he looked like Yongzheng. When Yongzheng ascended the throne at the age of forty-five, it was impossible for people in their twenties to play it. Yongzheng is the emperor. He feels like an emperor. He is resourceful, domineering and cunning. It is impossible to find a handsome niche to play with. The director looks for every concubine in the hope that her personality and appearance are related to the actor's heart. Everyone has her appearance and inner combination, not just everyone is beautiful.

Post production:

The post-production of the play took nearly 10 months. Because you can't see the mountains when standing in the Forbidden City, there will be mountains in the filming scene of Hengdian. So in the post-production, the production team erased the mountain with computer special effects? [27]。 In order not to let the audience understand the lines, the crew revised the overly classic dialogue in the play in the later stage. Because the play was shot in winter, the actors were very angry when they spoke, and the scenes that took place in summer in the play were also stunted in the later stage.

Positive evaluation:

Among many shocking harem dramas, harem is a very orthodox drama. Careful production has made this harem drama of good quality. Sun Li, the heroine, is really worthy of the standards of a first-line TV star, except that her clothes make the audience familiar with her a little unaccustomed. As a kung fu drama, it is very valuable to be able to do this without "thunder".

As a popular element, "Gong Dou" is very popular in recent years, and many film and television works like to make a fuss about it. However, few works can really shoot it well. Whether it is a wishful description of the ancient emperor, a variety of modern interpretations that ignore historical facts, or even fashion packaging, "harem" works have become a minefield. However, the concubines in the palace are not like this. It not only satisfies people's curiosity about the court and women, but also creates a cruel sense of historical desolation. Coupled with Zheng Xiaolong's consistent realistic style, he made an unforgettable work in depth [60]. (Southern Metropolis Daily Review)

Under the specific historical background, harem has carefully shaped a number of vivid and meaningful artistic images. Emperors, concubines, maids-in-waiting, and eunuchs are all flesh and blood. Everyone is a typical, representative of a group, but at the same time it is a unique "this one". When these typical characters are truly reproduced in the typical environment, the artistic tendency will naturally be revealed. And once you lose the typical environment in which you live, you lose the shocking criticism of the whole drama. Harmonious structure and interlocking plot are the important reasons why harem attracts empresses.

It is not only the historical background that determines the narrative tension of the whole play, but also the ups and downs, worrying contradictions and emotional entanglements. It takes the ups and downs of Zhen Xuan's fate as the core, digs out countless vivid details from the depth of history, and makes great efforts to set up plots and lay out narratives on the points, lines and surfaces where people and history meet. For example, the literary inquisition flourished, the guillotine operation and the Junggar rebellion. These characters and events develop alternately and restrict each other, forming a story chain with suspense instead of plane and multi-line instead of single line. The audience was caught in the waves and couldn't stop. (Comment on Qiushi)

The Queen of the Palace did not follow the old road of historical drama or the old road of only looking at historical facts, and achieved an artistic breakthrough with great cultural significance. Make us deeply realize that the basic laws of literary and artistic creation will not be out of date. If we can't attract people with beautiful stories, move people with vivid models and please people with excellent production, no matter how profound our thoughts are. (Comment on Qiushi)

References:

Baidu encyclopedia-biography of Zhen Huan