Panning for gold
Coincidentally, there are currently two films on television that explore the story of single fathers. My Father, the One Who Stays (directed by Meritorious Artist Vu Truong Khoa, aired on VTV3) tells the story of two strangers who, due to circumstances, have to take care of three children, including adopted children and biological children. Meanwhile, The Sun in the Night (directed by Vo Hong Loan, aired on SCTV14) revolves around a widower who raises three daughters by himself. Despite their different approaches, both show that the theme of family is still a priority for filmmakers.
This can be demonstrated in Stolen Happiness Part 2 (director, Meritorious Artist Nham Minh Hien, aired on VTV9 and VieON application). The film continues to explore the power struggles in the Do family - famous for its embroidery profession. From the battle between the two daughters-in-law for the position of heir, now expanding to the next generation, gradually revealing old and new conspiracies, making the film even more dramatic. Duyen (director, Meritorious Artist Nguyen Phuong Dien) is also a different color of the family theme when it explores the lives of 3 generations living together under one roof. The film is a story about love, family affection, the maturity of young people and the ambitions of fighting for the family's assets.
Although not mainstream, Late Night Sun (directed by Meritorious Artist Nham Minh Hien, currently airing on VTV9) and Mother Sea (directed by Meritorious Artist Nguyen Phuong Dien, airing on VTV1) still emphasize the family element. Late Night Sun depicts the family as a support to help young people in poor boarding houses overcome adversity. Meanwhile, Mother Sea depicts coastal life before and after the storm, with typical fates, emphasizing love and forgiveness.
Is effort enough?
According to director Vo Hong Loan, the theme of family in movies is not new. “Each family has a different story, no two families are the same. Even each father and mother will have different thoughts when looking at the same problem,” she said. With Mat Troi Trong Dem, she chose to express it in a cheerful and optimistic way. No matter what happens to the children in society, when they return home, it is always a place filled with laughter. The message the film wants to convey is also very gentle: “Family is where life begins and love never ends.”
Although we know that family is always a topic that occurs in life with many forms, convincing the audience is not a simple story. That always puts filmmakers under pressure to innovate, avoiding the rut of popular love - money - revenge - hatred stories. My Father, the One Who Remains, although a remake, conquers the audience with its gentle, subtle Vietnamese adaptation and the consistent acting of the cast of many generations.
Despite many compliments and criticisms, Stolen Happiness still holds the audience's attention thanks to its dramatic pace and convincing acting. Duyen, Nang Khuy and Me Bien also strive to make their own mark by cleverly placing the story and family relationships in different contexts. Especially with Me Bien, director Nguyen Phuong Dien convinced the VFC board of directors to set up a realistic setting for the filming process.
The success of a film depends on the primary factor of quality. In particular, the role of the director is especially important, because they are the ones who create the work and bring it to the audience. Director Nguyen Phuong Dien admitted that in recent years, he has not done much because most of the film stories revolve around familiar issues: the third party, property disputes, etc. "I want to change my mindset about filmmaking and want to make topics that bring healing messages and guide the audience to positive things, instead of just looking at the negative," he expressed.
In Nắng đêm, director Nhâm Minh Hiền and his crew also set themselves a challenge with the rolling format (filming and broadcasting at the same time). According to him, the biggest pressure for the scriptwriting team is to work while listening to the audience's feedback to make appropriate adjustments, making them increasingly interested.
Television dramas, especially family dramas, face a big challenge. If they fall into a rut, the risk of saturation and losing audiences is inevitable, especially when they have many options on digital platforms. Success or failure therefore depends on the filmmakers themselves.
Source: https://www.sggp.org.vn/phim-truyen-hinh-de-tai-gia-dinh-ap-luc-lam-moi-post786418.html
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