“YOLO”: An Unexpected Hit That Resonates Deeply

Unexpected yet inevitable, “YOLO” (热辣滚烫), directed by Jia Ling, has taken the lead in this year’s Spring Festival film season, dominating the box office and sparking widespread discussion. To truly assess this film, one must first understand its central figure: Jia Ling.

Jia Ling: A Director Under Scrutiny

As a director, Jia Ling’s achievements are enviable. Her debut, “Hi, Mom” (你好，李焕英), briefly made her the highest-grossing female director globally. Her second film, “YOLO,” has already grossed over 3.3 billion yuan, a remarkable feat. However, controversy seems to follow her.

A central debate surrounding “YOLO” revolves around its true focus: is it about weight loss or boxing? Despite Jia Ling’s repeated assertions that weight isn’t the main theme and her year-long absence from the public eye to prevent premature deviation from the core message, the hashtag #JiaLingLoses100Pounds# became the most trending topic after the film’s release.

This outcome was almost unavoidable. The nature of film lends itself to “spectacle,” and physical transformation is a potent tool for attracting audiences. For example, “The Whale” used its protagonist’s massive 272-kilogram frame as a primary visual spectacle, earning Brendan Fraser an Oscar. “YOLO” is a remake of the Japanese film “100 Yen Love” (百元之恋), in which the lead actress, Sakura Ando, lost 5 kilograms in 10 days. Given Jia Ling’s image as a plus-size comedian, weight loss became an essential element of her adaptation. Gaining 20 kilograms before losing 50 kilograms merely amplified an inherent point of interest.

Beyond the Weight Loss: The True Spectacle

The most inspiring aspect of the film isn’t simply the weight loss, but the dedication and training it represents. The fluency with which she strikes the punching bag, the definition of her abs, back muscles, and biceps, the sunken collarbones during breathing, and the familiar dimples alongside new wrinkles – these details convey a truth and power that mere acting cannot achieve. By developing that physique, the remake was already halfway to success.

I agree with the notion that “YOLO” is a semi-autobiographical film. Its success is inextricably linked to Jia Ling’s life experiences. No other actor could have achieved the same impact. Jia Ling is 40, and has been overweight for at least a decade. This sudden transformation from someone familiar creates a sense of relatable aspiration: if she can reshape herself and embark on a new life, can’t we all?

Adaptation and Female Perspective

Another point of contention is that despite acquiring the rights, “YOLO” shares similarities in its script framework, composition, and shot division with the original, leading to accusations of laziness. However, “YOLO” offers its own unique perspectives on plot, viewpoint, and emotional portrayal, going beyond simple comedic additions.

Localizing the Narrative

First, the plot needed to be localized. The original protagonist’s apathy and listlessness are not unusual in Japanese society, and the supporting characters also behave eccentrically. This reflects their environment. Simply transplanting this to China would feel out of place. Therefore, Jia Ling imbued Du Leying with a “people-pleasing” personality and used a series of still shots in the opening to explain why she was wasting her life: Du Leying passes by and gazes at other people’s work, wealth, lives, entertainment, disputes, goals, and social interactions. She is isolated from the world; the excitement belongs to others, and she has nothing.

Strengthening the Female Gaze

Second, she strengthened the female perspective. The opening subjective shot of Du Leying walking towards the arena establishes the film’s foundation from the female lead’s perspective. The two encounters with the male lead subvert the traditional “men watch, women are watched” dynamic. In the first encounter, Leying stands outside the gym, slightly embarrassed when she thinks she’s being looked at. However, Haokun can’t even see her inside. Their love is a misunderstanding from the start. In the second encounter, Du Leying is the observer, desperately trying to hide her embarrassment, while Haokun is the awkward subject of her gaze, reversing their roles.

The success of “YOLO” stems in large part from the scarcity of films told purely from a female perspective. Even the critically acclaimed original, when viewed through a modern lens, can feel subtly uncomfortable. The consecutive successes of “Barbie” and Jia Ling’s film demonstrate the market’s intense desire for female narratives, so much so that even if they are not perfect, they can still attract a large audience.

Reimagining Love and Self-Discovery

A crucial difference lies in the portrayal of love. The final match also features a key change. In the original, the female lead, after being knocked down, is brought back to her senses by the male lead’s cry of “Hey, get up!” and then encouraged to stand up and fight back by the cheers of her friends and family. She is awakened by love and saved by her lover. However, in “YOLO,” Haokun doesn’t say a word throughout the match. He is not a savior when Leying falls; instead, he is a failure who has been surpassed. Leying can be knocked down repeatedly and still stand up, while he gave up after being knocked down by his opponent with one punch, which is ironic. Ultimately, it is not Haokun who awakens Leying, but the pain and rebirth she has experienced. By removing the word “love” from the title and rejecting her ex-boyfriend’s offer to reconcile, the importance of love in Du Leying’s life is diminished. Reconciling with her ex-boyfriend is not on her agenda; rebuilding herself is her new goal.

Boxing films are not a new phenomenon. From “Rocky” in 1976, “Million Dollar Baby” in 2004, to “100 Yen Love” in 2014 and “YOLO” in 2024, a similar inspirational film appears every few years. Although the protagonist has changed from male to female, the evolution process has shifted from being urged by seniors to actively seeking knowledge, and the outer shell of the story is changing, the core spirit remains the same. These films are essentially a mental tonic; people need to be inspired and uplifted by inspiring stories every so often. As life continues to challenge us, these stories will always have their place.