There are two major trends of thought in literary creation, romanticism and realism. For the same thing, romanticism starts from the "heart" and idealizes the transformation of reality, keeping a certain distance from it, emphasizing the brightness and pursuit of the characters' inner world; realism strives to express the real environment and psychology, and rejects the exaggeration and style of the characters Shaping. In 2013, the Korean version of [Gift in Room No. 7] was called a tear-gas bomb, while the Turkish remake in 2019 had a markedly lower effect in terms of tear gas, but it was also exceptionally moving. They can be regarded as the product of two creative styles of romanticism and realism.
In terms of sensationalism, Korean film and television dramas are definitely considered top-notch in Asia. They accurately calculate the timing of the separation and reunion of joys and sorrows, the separation of life and death, and the removal of complex emotions, with simple and exaggerated emotions, to harvest the tears of mainstream audiences.
[Present from Room 7] It was on this level that it gained a huge market response and became the box office champion of South Korean movies in 2013. The enthusiasm spread to mainland China, and the film was regarded as the tear-jersey comedy of the year. In 2019, Turkey remakes [Present of Room 7], setting a new box office record in Turkish film history. This version is quite heavy, but the ending is a bit brighter than the Korean version.
Relatively speaking, I prefer the realistic color of the Turkish version, and I can be touched by the real depressive atmosphere in it. The Korean version of the exaggerated personality shaping often makes me feel uncomfortable. The funny and exaggerated treatments to hide the suffering, as well as the posture of having fun in the suffering, really make people feel deliberately.
The biggest difference between the two editions of [The Gift in Room No. 7] is not in plot and localization, but in completely opposite expressions, which can be summarized in the romanticism and realism styles mentioned at the beginning of the article: the Korean version focuses on The parent-daughter relationship is expressed, and the surrounding environment is full of innocence and fun. The characters are like coming out of a fairy tale, praising kindness and truth from the perspective of children; the Turkish version of the father-daughter relationship is presented with the help of the tragic nature of the characters. It does not highlight their optimism and simplicity, and the surrounding environment is full of helpless depression and depression.
Father: intelligence and emotion
In the two editions of [Present from Room No. 7], the mentally retarded father has a different personality.
Let me talk about the father Long Jiu in the Korean version. His first appearance was with his daughter Ye Sheng outside the shop window, imitating the Sailor Moon dancing on TV-the father and daughter stood at a high level. Normally, this lens can dissolve the sense of distance between father and daughter, but here, it has another intention-the father's intelligence level is equivalent to that of the daughter.
He was introduced to the audience as a "big kid" playing with his daughter, not just an adult with low intelligence. This is the part of the film's fairy tale, which moves the audience's perspective down to the level of children's innocence and kindness, making it easier to be moved.
The daughter took a fancy to the schoolbag with the cartoon image of the beautiful girl. Long Jiu was saving money and was about to buy it. The chief of the police preemptively bought the schoolbag for his daughter. Long Jiu, who couldn't think like ordinary people, hurriedly asked them to leave the schoolbag. The chief of police slapped him several times involuntarily. The audience does not know his police identity at this time (the Turkish version has strengthened the power color of his identity from the beginning-it can be seen through his uniform), so there is no power wrong between Long Jiu and him. Wait, the conflict is only caused by the father's love and the identity gap. The chief of police is an unnoticed supporting actor in the Korean version of [Present from Room No. 7], just as a vicious villain in the fairy tale, arousing mercy from the audience to the protagonist.
Let's take a look at the father Maimos in the Turkish version. His first appearance was not with his daughter Ova. Instead, he stood alone under the big tree outside his daughter's school, with a weird look, and there was a military vehicle guarded by soldiers next to him. The audience can see Maimos’ mental retardation at first glance, and naturally they will have a worry—whether his daughter will be laughed at by classmates because of him, especially in front of powerful classmates—that car The family background implied by the military vehicle. Sure enough, the soldier's child laughed at Owa's father as a fool.
This way of appearance established the fundamental difference between the Turkish version and the Korean version. The Korean version of the father is portrayed as a simple and happy "big kid", while the Turkish version of the father is just a fool who is ridiculed by others. In the eyes of his daughter, he is different from the father of his classmates. Ova ran to Maimos after school. Although the two were intimate, the audience could feel the pressure she faced because of her father’s difference through the ridicule of her classmates, the puzzled eyes of Ova, and the military vehicle symbolizing power. . The audience also knows that Owa’s feelings about this will undoubtedly become stronger with age. This is the pressure that the Korean version did not show. Long Jiu and Yisheng played with bright tones and happy dances. Then, what brought the audience into sadness was the destruction of this happy time.
Next, let’s compare how the two editions of [The Gift in Room No. 7] deal with the scene where the father was beaten in front of his daughter. After slapped the face of the police chief in plain clothes, the camera switched to outside the window and placed them in the blurred background. Through the close-up cartoon images of beautiful girls, the extended meaning of the conflict was downplayed—discrimination and wrong power Etc. caused violence. The audience feels that a stupid and innocent father is bullied by a arrogant father, so it is easier to mobilize moving emotions.
In the Turkish version, Maimos was outside the store, knocked to the ground by a uniformed officer in full view. In front of her classmates, Owa looked at her father being beaten by her father, with both sadness and resentment in her eyes. In this scene, the audience can get more conflicting information-the arrogance of power and its deterrence to the people around, the daughter's feelings about the loss of dignity of the father. To a certain extent, this information blocked the pure emotional burst of the audience. The audience is in the position of observation and thinking by outsiders, rather than being brought into the fairy tale-like life of a father and daughter like the Korean version.
When she returned home, Owa told her grandma that she was not happy because she didn't buy her favorite schoolbag, but because her father was bullied. Maimos sat on the steps outside the door, feeling too sad to know what to do, and asked grandma if Owa would laugh again. In the Korean version, Long Jiu and Yisheng hardly care about being bullied. They happily lie on the bed to chat and play at night, everything is still bright.
Judging from these few scenes about the image of the father and the relationship between father and daughter, the Turkish version has been mobilizing the audience’s more complex psychological feelings, throwing out different perspectives, and facing reality; the Korean version has tried to drag the audience into a pure In the world of joys and sorrows, other perspectives are avoided, so the fairy tale color of character creation is obvious.
Daughter: lively and melancholy
Ye Sheng in the Korean version and Owa in the Turkish version, one loves to laugh and lively, arousing love; the other is smart and shy, inviting sympathy. Their personalities have been revealed in the previous scenes related to their fathers.
For the mentally retarded father, Yisheng has no identity barriers, and the plot only shows the happy and optimistic time when they are together. Ova was different, her eyes revealed many doubts-aware of the difference of her father. Although she and her father get along very well, her growing up psychology is obviously being affected by the perception of her father by the people around her.
When her classmates laughed at Ova’s father, she looked at them with helplessness and calmness; when her father was beaten by the classmate’s father on the street, Ova hugged him who fell on the ground tightly, and looked at her classmate and her father angrily . Back home, she was still angry about this matter. Yisheng was not angry at his father being beaten, but comforted him that he didn't want a beautiful girl's schoolbag, and his father insisted on giving her the best. The two are as happy as ever. Yisheng has not yet expressed his worries about his father's mental retardation.
The father was falsely accused of murdering the girl and went to jail. The deceased was the daughter's classmate. Her father, whose power was in hand, angrily determined that this was Long Jiu/Memos's revenge against him, and even if there was evidence that he was not the murderer, he would be sent to the death penalty stand. In the prison, his father’s cell was number seven. The inmates are all lovely people. I believe he is not a murderer and helped him and his daughter get together in prison.
The process of Yisheng entering cell No. 7 is full of the fun of coordinated combat, like a hide-and-seek game for adults and children. The prominent prison boss opened up the relationship between inside and outside, and took advantage of the opportunity of the choir to perform in the prison to bring Yisheng into room 7. The audience was immersed in a joyous journey of father and daughter rushing to the reunion, and the episodes made their hearts twitched, worrying that the reunion would be ruined. Yisheng wisely conspired with the adults and escaped the inspection by the prison guards. Later, with the permission of the prison director, he stayed in Room 7 for a long time.
Yisheng, his father and his inmates live happily in room seven like Snow White and the Seven Dwarfs. The more happy time is, the more innocent and lovely Yisheng is, the more hateful the acts of destruction, and the audience shed tears with regret, resentment, and emotion.
But in the Turkish version, Ova has many sad scenes of one person. After her father was in prison, she had been waiting for witnesses to appear; the teacher and grandma tried to take her to visit the prison, but were stopped. Under the arrangement of the prison boss, Ova successfully entered room 7 without experiencing any interesting or thrilling process, and was quickly discovered by the prison officer and taken out of the cell. After knowing the secret, the warden who sympathized with Maimos arranged several reunions with his daughter.
In prison, Owa is not playing the role of pistachio like Yisheng. Yisheng sings and dances to help adults relieve their worries, while Owa is a quiet girl. The adults open up their hearts in front of her and talk about their past. An old man who lost his daughter used her to untie the knot of many years. He often stared at a broken spot on the wall, thinking of his daughter who had hanged himself.
The personalities of Yisheng and Ouwa bring completely different psychological feelings to the audience. The former is innocent and lively, and every move is limited to instant joy and sorrow. The plot and characters have not been extended further; the latter is like a little adult who is being deeply affected by the world around him, bringing the audience's thoughts to her Worries about the living environment.
From the perspective of the protagonist’s personality and experience, the Korean version of [Gift from Room No. 7] is better than simple and pure, but this is also the reason why many viewers don’t like it-it’s innocent to a bit distorted. The Turkish version wins because of its deep realism. The audience may not be moved to tears so easily, but observing the depressive atmosphere created by the film from the standpoint of an outsider can get a deeper psychological touch. Of course, there will definitely be many viewers who don't like its depressive atmosphere, and prefer the Korean version of ease and tears.
Inmate: Joy and Sorrow
The most important scene in the film-Room No. 7, because of the different styles of the two films, the decoration of the room and the personality of the prisoners are also distinct.
In the Korean version of [Present from Room No. 7], Room No. 7 is not as warm as a prison cell, with rich colors. Neat and orderly, if it weren't for the pornographic painting on the wall to remind you that it was a kindergarten classroom, I would also believe it.
The Turkish version will not cause such misunderstandings. In the gloomy room, there are a few bunk beds, which are a bit crowded, and clothes are hung in disorder. Although the daily necessities have been sorted and arranged, the whole room is still messy as far as it can be seen, which is consistent with its use as a male prisoner cell. Temperament.
The two interior furnishings correspond to the requirements of the two narratives. The Korean version focuses on creating dreams for the audience. Although father and daughter have already suffered misfortune, most of the time, they live in fairy-tale happiness. The daughter is cute, the prison is kind, and the world around is shrouded in fairy-tale colors. The Turkish version reminds the audience from beginning to end that the misfortune of the father and daughter and the gloom of the world around them, even if they are lucky enough to be rescued, have a heavy color.
This is the reason why the Korean version has a more tear-jerking effect. The emotions of the audience are introduced into the direct situation of happiness and sadness, eliminating the redundant associations in their minds, just like children watching fairy tales, the emotions are simple and pure. The Turkish version puts a certain burden on the audience. The audience cannot fail to notice the oppressiveness of the protagonist's situation, and cannot quickly jump out of the feelings of discrimination and injustice, and enter the pure joy of father and daughter.
The first appearance of the Korean version of prisoners was not in room seven, but after growing up, Yisheng found them after being released from prison and participated in her mock defense of her father's reversal. These reformed people are kind and honest despite their shameless appearance. When they first appeared on the scene in Room 7, they used comic-like stop-motion shots, introduced them one by one, and shaped them into a group of "inferior" cute people, thus obtaining a contrasting comedic effect.
The Turkish version does not have this joyful atmosphere, and there is no separate introduction to the inmates. As soon as Mammoth stepped into Room 7, an unfriendly breath came over his face. The messy cell was full of ferocious eyes and indifferent faces. Long Jiu was also bullied when he first entered Room 7, but only to the extent of a prank; Maimos was not so lucky. After the inmate knew that he had "murdered" the little girl, he was beaten to a broken rib and was dying.
Different performance techniques gave the audience different psychological feelings. As a foil for father-daughter love, the Korean version highlights comedy and a warm atmosphere, so they are portrayed as "bad guys" who scare children like paper tigers, with cuteness and kindness in their bones, and funny interactions with Yesheng and his father ; The Turkish version is based on realism, focusing on shaping two prisoners, one is the elder who has alienated his family, and the other is the old man who has lost a daughter. They are all people with a strong background in life.
What viewers experience from the Korean version is a pure fairy tale tragedy, while what they get from the Turkish version is a kind of sadness that is very realistic.
View more about Miracle in Cell No. 7 reviews
