“BLOSSOMS Shanghai,” a TV drama directed by Shanghai-born Hong Kong director Wong Kar-wai, has received mixed reviews since its debut Dec. 27.

Starring Hu Ge and Tang Yan, the 30-episode TV drama was adapted from a Chinese novel penned by Mao Dun Literature Prize winner Jin Yucheng. It follows protagonist Bao’s entrepreneurial journey and reveals how the fate of young people in Shanghai have changed in the early 1990s under new opportunities brought by China’s reform and opening up.

The drama was produced with two versions. The Putonghua version is being broadcast on TV channel CCTV-8 and another one that features all actors speaking in Shanghai dialect is streaming at online platform Tencent Video.

Gifted by Wong, one of China’s most distinctive directors known for his dream-like cinematic style, “Blossoms Shanghai” has been praised by many netizens online as the “most artsy TV show of the year.”

“I’m stunned and thrilled to see Wong’s aesthetics in a TV production. Even a simple shot of a handshake seems romantic,” a netizen posted on China’s rating platform Douban.

“No matter if it is in Hong Kong or Shanghai, Wong is always the one who can capture the nostalgic beauty of an era. His Shanghai cultural roots must have inspired him a lot when filming the TV series,” a netizen posted on Sina Weibo.

Wong once told media that “Blossoms Shanghai” depicts not only individuals’ stories but also a “story about the era.”

Apart from praises, “Blossoms Shanghai” has also received negative reviews. Some viewers said that compared to the original novel, the TV version is too fragmented.

Some others also criticized it as being too “affectionate” and not as “down-to-earth” as the original novel. Author Jin is known for his simple words combined with a clear storyline. “I feel like the TV drama is just showing off Wong’s aesthetics style,” posted a netizen.

A film critic based in Beijing said that in any adaptations, the “literary language needs to be transformed as film language.”

“It is impossible for any adapted film to be the same to its original novel. For stylistic directors like Wong, his interpretations are meant to be different,” film critic Shi Wenxue emphasized.

The whole production cycle of the drama spans for four years of time. Wong’s “big screen” to “small screen” transformation has surprised many moviegoers.

Shi said that the director’s film to TV transformation implies a new collaborative pattern for the film and TV industries that many award-winning Chinese directors have started to explore new ways for visual storytelling.

“The change can diversify the current TV industry and enhance it with productions that show aesthetics and qualities of cinema,” Shi said.

(Global Times)