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King of Mask Singer
Home > Reality TV Shows > King of Mask Singer

King of Mask Singer

2016
King of Mask Singer
King of Mask Singer

King of Mask Singer

7.2 | en | Reality

Competitors are given elaborate masks to wear in order to conceal their identity, thus removing factors such as popularity, career and age that could lead to prejudiced voting. In the first round, a pair of competitors sing the same song, while in the second and third rounds they each sing a solo song. After the First Generation, the winner of the Third Round goes on to challenge the Mask King, and is either eliminated or replaces the previous Mask King through live voting. The identities of the singers are not revealed unless they have been eliminated.

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Seasons & Episodes

1
EP78  Episode 78
Sep. 25,2016
Episode 78

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EP77  Episode 77
Sep. 18,2016
Episode 77

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EP43  Episode 43
Jan. 24,2016
Episode 43

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EP42  Episode 42
Jan. 17,2016
Episode 42

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EP41  Episode 41
Jan. 13,2016
Episode 41

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EP40  Episode 40
Jan. 12,2016
Episode 40

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EP39  Episode 39
Jan. 12,2016
Episode 39

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EP38  Episode 38
Jan. 10,2016
Episode 38

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EP37  Episode 37
Jan. 06,2016
Episode 37

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EP36  Episode 36
Jan. 09,2016
Episode 36

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EP35  Episode 35
Jan. 08,2016
Episode 35

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EP34  Episode 34
Jan. 07,2016
Episode 34

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EP33  Episode 33
Jan. 08,2016
Episode 33

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EP32  Episode 32
Jan. 10,2016
Episode 32

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EP31  Episode 31
Jan. 12,2016
Episode 31

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EP30  Episode 30
Jan. 04,2016
Episode 30

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EP29  Episode 29
Jan. 05,2016
Episode 29

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EP28  Episode 28
Jan. 06,2016
Episode 28

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EP27  Episode 27
Jan. 10,2016
Episode 27

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EP26  Episode 26
Jan. 11,2016
Episode 26

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EP25  Episode 25
Jan. 08,2016
Episode 25

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EP24  Episode 24
Jan. 11,2016
Episode 24

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EP23  Episode 23
Jan. 06,2016
Episode 23

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EP22  Episode 22
Jan. 09,2016
Episode 22

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EP21  Episode 21
Jan. 08,2016
Episode 21

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EP20  Episode 20
Jan. 05,2016
Episode 20

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EP19  Episode 19
Jan. 07,2016
Episode 19

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EP18  Episode 18
Jan. 10,2016
Episode 18

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EP17  Episode 17
Jan. 09,2016
Episode 17

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EP16  Episode 16
Jan. 05,2016
Episode 16

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EP15  Episode 15
Jan. 07,2016
Episode 15

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EP14  Episode 14
Jan. 06,2016
Episode 14

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EP13  Episode 13
Jan. 09,2016
Episode 13

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EP12  Episode 12
Jan. 06,2016
Episode 12

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EP11  Episode 11
Jan. 09,2016
Episode 11

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EP10  Episode 10
Jan. 12,2016
Episode 10

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EP9  Episode 9
Jan. 10,2016
Episode 9

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EP8  Episode 8
Jan. 11,2016
Episode 8

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EP7  Episode 7
Jan. 08,2016
Episode 7

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EP6  Episode 6
Jan. 07,2016
Episode 6

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EP5  Episode 5
Jan. 05,2016
Episode 5

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EP4  Episode 4
Jan. 08,2016
Episode 4

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EP3  Episode 3
Jan. 06,2016
Episode 3

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EP2  Episode 2
Jan. 11,2016
Episode 2

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EP1  Episode 1
Jan. 12,2016
Episode 1

Competitors are given elaborate masks to wear in order to conceal their identity, thus removing factors such as popularity, career and age that could lead to prejudiced voting. In the first round, a pair of competitors sing the same song, while in the second and third rounds they each sing a solo song. After the First Generation, the winner of the Third Round goes on to challenge the Mask King, and is either eliminated or replaces the previous Mask King through live voting. The identities of the singers are not revealed unless they have been eliminated.

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7.2 | en | Reality | More Info
Released: 2016-01-12 | Released Producted By: Reforma Films , Compagnie Industrielle et Commerciale Cinématographique (CICC) Country: Mexico Budget: 0 Revenue: 0 Official Website:
Synopsis

Competitors are given elaborate masks to wear in order to conceal their identity, thus removing factors such as popularity, career and age that could lead to prejudiced voting. In the first round, a pair of competitors sing the same song, while in the second and third rounds they each sing a solo song. After the First Generation, the winner of the Third Round goes on to challenge the Mask King, and is either eliminated or replaces the previous Mask King through live voting. The identities of the singers are not revealed unless they have been eliminated.

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The tv show is currently not available onine

Cast

Director

Producted By

Reforma Films , Compagnie Industrielle et Commerciale Cinématographique (CICC)

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Reviews

Oslo Jargo (Bartok Kinski) Fairly good movie, it reminded me a bit of those 1950's existential films like The Wages of Fear (1953). It was based on a story by Jean-Paul Sartre. Lead Gerard Philipe died of liver cancer in 1959.Plenty of Mexican faces are in it like Jaime Fernandez, Víctor Manuel Mendoza and Carlos López Moctezuma.It was a collaboration between France and Mexico, filmed in Veracruz, Mexico. I found a copy at the San Francisco Public Library on VHS years ago and watched it.Death in the Garden a 1956 film by director Luis Buñuel is also very similar.Also recommended: A Man Escaped (1956) The Killers (1946)
Cristi_Ciopron I would like to underline here the symbolical place and representative function of this good compact movie. This is how a clear-cut good movie looks. It is a melodrama—and no crap, no ballast, no rubbish. Above all, intelligent, good movie—the obvious touch of a master. In other words, this is what has been lost. This ability, this craftsmanship—very undervalued and despised and underrated. Far from being a masterpiece, this romance is a good movie—what I found particularly satisfying, fulfilling, is the absence of the slapdash, of the mess ;fortunately, in its own time Les Orgueilleux did not pass unnoticed. Leprohon saw its merits.It is a good and important movie—and also a representative of a school—it was called the French School. Those who despised this style of movie-making, of fine movie-making, often had nothing to bring instead. A director like Yves Allégret addressed his films to an intelligent cultivated audience.Before we go on with the explanation of this very fine and achieved melodrama's importance, let us try to see what is the constitutive structure of a melodrama. Of a serious and intelligent one, that is. Of a melodrama that does set itself up for something. The first thing we see, dear reader, is the synthetic and somewhat symbolic (the word is not wholly adequate, and it must be taken under caution) language and content of a melodrama. In this film that we are discussing now one can immediately detect this adequacy of the means—the narrative units, the characters, the psychologies, the mutual relations, the ways, the transitions, are to be taken as merely symbolic (that is, having an immediate aesthetic interest in themselves, and concomitantly standing for a larger meaning that is given in their concrete structure) and synthetic. On the other hand, notice how decently is this made, and how the Mexican characters speaking Spanish are not made to do this by speaking French with a Spanish accent. It might be, this phonetic accuracy, only a modest indication—though, it says much about this movie, and this old French School director, having the right approach and the right understanding and the right respect for the audience.I believe the symbolical, the reflective ,the synthetic and the generic are the only chance of this sort of literature (or cinema)—the non-autobiographical one.All such literature or cinema must choose a synthetic, generic and non-realistic exposition—the choice of the realism for the depicting of the supreme things, such as love and passion, fits only an autobiographic content. In other words, one cannot invent a realistic content for such a fiction—he either speaks strictly about what he has seen and met and lived, or he uses a symbolic, synthetic, compact and non-realistic approach—as is the case with this film. It cures the mind of the stupidity with which today's melodramas imbue the mind of their viewers. This curative function is also important.Les Orgueilleux means several things, on many levels—it means what its author intended it to mean;--but it also means the French School in the '50s, right before the scene was taken over almost completely by puck-fists and crumbs who knew only to pot out, 'potchky around and mess up—pothooks. And it means the level of excellence in simply making a good movie that was reached by these French School old honest directors. Their detractors reproached them they did not make masterpieces (but they often did !), and suggested that once the French School dismissed, a New Wave will come that will constantly produce only masterpieces.Les Orgueilleux is good, simple, clear and dramatic. It is psychological, thrilling and melodramatic. It means much as the witness of an epoch of normality and competence. This narrative and aesthetic competence is something fine and deeply satisfying. The story is simple and average—but it is perfectly mastered and managed, very finely developed, very carefully thought. The several characters are well managed. Philippe makes one of his first-hand roles (I do not know very well his career; anyway, here is his best role that I know, and notable also for being an achieved drunkard role, an usually picturesque specialty that Philippe treats in a different and very competent way.) Like all the very great actors, Philippe makes the viewers think he was the only, and anyway the best choice for the role. So someone might ask: if I praise the movie like this, why don't I declare it a masterpiece? Because it is not—and, more important, it doesn't pretend it is. It is, deliberately and with supreme mastery and equilibrium, a fine melodrama. If it proves something, it's that a fine melodrama can be rich, impressive and compact—this is its achievement, from a historical point of view.The French School directors were clear-sighted, clear-minded ,not at all muddled, maybe somewhat limited but certainly with a compact knowledge of the technical possibilities of their art; moreover, they did not have the cult of the geniality –or, better, the superstition …. Those who replaced the old directors brought sprawl. Someone wrote, very true, that today's melodramas are "patronisingly simplistic, sentimental and tiresome".Indeed.Well,Les Orgueilleux proves there was a time when they didn't have to be so.If you wish, make this test: ask yourself how many recent melodramas seem, next to Les Orgueilleux, anything but crap. I think I could offer several titles of American melodramas from the '50s that are almost as good as Les Orgueilleux, and you may compare the recent melodramas with these '50s American flicks, and the recent ones are still crap—and crap out of crap.
dbdumonteil Allegret reached his peak in 1947-1949 with "Dédée d' Anvers" "une si jolie petite plage" and "manèges".Afterwards,his works became either disastrous ("la jeune folle" ) or academic (Zola's "Germinal")."Les orgueilleux" is a notable exception.Gerard Philippe's over the top portrayal of an always drunk deposed doctor is impressive.Michèle Morgan has never been so sensual.But what matters is the sultry moist atmosphere.Michèle Morgan is sweating throughout the whole movie.Very few things happen after Morgan's husband's death,but the depiction of a Mexican one-horse town during the Holy week is awesome.One could draw a parallel(almost bunuelian) between the Passion and Morgan's sentimental life:death on Good Friday of what she thought was the love of her life;resurrection on Easter day on the beach when she realizes she's found true love.Yves Allégret was extraordinary when it came to making you FEEL what his characters endure:so strong the pictures are that we're hot,we sweat as much as them.He did the same in "une jolie petite plage" where the rain never stopped falling.Maybe he learned his lesson from Victor Sjostrom(Seastrom) who could make us feel" the wind" ,and in a silent movie at that.
withnail-4 One of the greatest films I've ever seen, this movie took me completely by surprise, considering I'd never heard of it, and the videotape cover was very cheesy. Set in a small Mexican town, the main character is a drunk who is so intoxicated throughout the movie he can hardly walk. A plague of cerebral-spinal meningitis hits the town. This film has a startlingly raw edge to it, like nothing else I've seen from the 50s, but more like a Midnight Cowboy kind of down-and-out unflinching view of human situations. One of the first images is of the drunk carrying a pig's head through the streets of town. He delivers it to a whorehouse. The prostitute offers to pay him with sex, but he chooses to be paid in tequila. There's another scene of him cleaning up vomit, and a scene where the local doctor, the drunk, and a woman tourist take turns inoculating each other in the spine with a huge needle. This is not to say that the film is shocking or gross, but simply human and realistic. The photography is utterly pure and perfect. Nearly every composition is dynamic, with a strong perspective, background and foreground in play, half the shots have some kind of movement, dolly or pan, which is used concisely and never intrusively. Every set up is intelligent, resourceful and well executed. The acting is simply brilliant, the stars are believable, realistic and likeable. I don't know the story behind this production, or why it has slipped into obscurity, but it struck me as one of the GREAT films, comparable to something by Robert Bresson(who is one of my favorite directors) so, as you can guess, I highly recommend this. It's a ten.