In the process of adaptation, TV plays are divorced from the background. The real murderer is a girl who has lost her mind. Perhaps as a TV series of mass audio-visual art, it is cruel to make an underage girl a real murderer. But we still lead Yang Yuan to say through clues, for example, intentionally or unintentionally, whether DOG didn't leave the unit building, and said to his father at the scene of arresting Xu: Don't hurt anyone again. These detailed descriptions all point out how much Wynn knows about his father's crimes.
The literary significance of The Missing Child lies in that, on the surface, based on the plot deduction of this case, the drama solved the cases of missing children, Xu rape and dismemberment for the first time, and brought the audience into an immersive viewing effect of role-playing in the plot deduction of the script's main killing line and auxiliary tasks. However, stripping off the coat of atypical criminal investigation drama, the drama is an analysis of reality and sociality under the deduction of social school reasoning.
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"Your name is Yang Yuan, but you have never gone far. Your life is caught in a loop. " This sentence, which is narrated in the second person at the beginning of each episode of the series, profoundly leads to countless middle-aged men, like Yang Yuan, carrying heavy burdens. The bottleneck pressure of career, wife's nagging, husband's family's contempt, inner love for children, and fatigue in reality make them fall into the prison dilemma of typical middle-aged crisis.
Even though DOG's ADHD has brought great pressure to Yang Yuan's family, in Wynn's eyes, this family of three is such a happy family. Parents' divorce and extreme lack of love lead to psychological distortion and mental deficiency. The lack of love makes Wynn have a maturity and calmness that is extremely inconsistent with his age.
Yuan Wu is a mambo dog, used to growing up under the care of his parents, but he failed to live up to the name his father gave him. Because of gambling habits, social fear and neurosis, he lost his marriage, custody of his children and his mother. Yuan Wu became a bystander of life. When his father was the only motivation and support for his survival, his father suddenly died of illness. The motive of hiding Yuan Wu's body is to get a pension, and the deep-seated reason is that he is afraid of being the last one to take care of his relatives after he is lost. He tried to realize the illusory family relationship with his father by hiding the body and escape the accusation of the bystanders in his dream.
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Just as Lin Chuping, the victim of rape, has a typical "brother-loving complex", the three characters in the play-DOG, Yuan Wu and Wynn all have certain personality defects, some of which are diseases, but more are caused by the butterfly effect of family and society. If Momo's mother hadn't sent away her child's beloved puppy, and if Yang Yuan honestly told his wife that the child had ADHD, Momo might not have hid and been kidnapped. If a kind mother can give her children more maternal love and a father can spare more time to communicate with their children, a kind mother may not lose her mind. If Yuan Wu's mother cultivated her children's sense of independence from an early age instead of doing everything, perhaps Yuan Wu, as a famous college student, would be more resistant to oppression after going to society. If Lin Chuping's brother didn't love his sister too much, he would have discovered her complex of loving his brother and encouraged him to get out of himself. Maybe the tragedy of being raped wouldn't have happened. To extend, the definition of success in our society and the label setting of materialistic marriage, family and children's education are the root causes of anxiety and anxiety that pervades almost all the characters in the play. This critical spirit of realism embodied in three cases is the powerful emotional penetration brought by the profound literariness of the play.
During the transition from literature to film and television, the play pays more attention to depicting the psychological activities of the characters. Unlike the description of psychological activities in words can give readers 1000 Hamlet's imagination space, TV plays, as an audio-visual language art, need to make greater efforts in artistic expression and require more excellent and delicate performances by actors. In terms of artistic presentation, the play weakens the high degree of participation of the police as the first perspective in the criminal investigation theme, but brings it into the third perspective of case reasoning like the audience. Through flashbacks, interludes and even tirelessly repeating the same plot, the whole drama reconstructs the temporal and spatial order of the case after breaking the routine of linear narrative. The three cases mesh seamlessly like gears, but they repeatedly fall into the endless cycle of Ubis ring. After every hypothetical reasoning is pushed down again and again, it returns to the starting point again and again like running. The whole puzzle solving task no longer relies solely on the traditional narrative mode of criminal investigation drama such as criminal investigation technology, logical reasoning and evidence chain locking, but develops the plot from the family background, characterization and psychological activities of the characters, creating dramatic conflicts, and then analyzes the inducement and motivation of the characters step by step. The play does not focus on whipping the darkness of human nature, but analyzes why this is the case! This is the difference between this drama and ordinary suspense TV series.
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In the process of the transformation from literature to film and television, this drama attaches great importance to the portrayal of psychological activities and successfully realizes psychological portrayal, which is very worthy of recognition. Yuan Wu and Wynn's actors depict the complex psychological activities of the characters layer by layer through expressions and body language, especially Wynn's actors after zero zero, explaining the girl's desire to love and be loved, the feelings of Mo Mo's brother and sister, and the inner struggle of Mo Mo's being rescued and trying to replace, which is extremely calm, restrained and delicate.
The happy ending of the play is not unexpected. DOG's family reunion, Yuan Wu's reconciliation with his wife, Lin Chuping's self-departure, and Wynn's re-entry into Yang Yuan's family. Such a warm ending is extremely accurate in terms of national character and audience acceptance. But on closer inspection, it seems that there are many truths hidden in the details like the devil. In the aquarium, Yang Yuan said to Wynn: If you lose DOG, you lose it. When Yang Yuan was asked by the police about DOG's case in the hospital, Yang Yuan's fingers clumsily tapped on the armrest of the hospital bed, including Xu An telling the police when he was interrogated in the interrogation room: You think what you know is the close-up of the truth. These thoughtful details leave the audience with the meaning that the truth is beyond the ending. Especially when Yang Yuan was drinking vermicelli soup at a street stall, he was still clutching his toothache. This unfinished business is just real life. The truth may be hidden, but life must go on. I think this may be the biggest ending egg left by the play to the audience.