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Dark night, in the rain, black umbrellas, black clothes.

The camera is white and calm, like a lonely ghost returning from hell.

Slow-motion gently pans horizontally, with a slightly rapid small drum beat and melodious bagpipes, the whole shot unexpectedly captures a rare sense of epic in Hong Kong Island movies.

At the beginning of "Crazy Boy", Wu Xiaozu experimented with this kind of highly romanticized group portrait shot, but at most it was superficial. This time, he cooperated with Pan Hengsheng and dedicated a "mirror feeling" feast.

Zhou Yanfa held an umbrella in one hand, and the water droplets were processed in slow motion, plus post-rendering, like a natural fog mirror, escaping this

The man in the "prison at sea" renders a rare layer of sadness.

Standing in the midst of the rainstorm, a thunderbolt struck down, and Zhou Yanfa's face was presented in front of the audience.

frowned, forming a "Chuan" character, and looked gloomily at the lighted room not far away. His expression is exactly the same as before he changed his face, making the audience in a trance and very sure that the person in front of him is the policeman standing in front of the floor-to-ceiling window at the beginning of the movie, frowning and sad.

The face was changed.

The heart will not change!

Some people say that it is difficult to draw the skin and bones of a tiger, and Zhou Yanfa used strong and mature acting skills to express the state of the police after the face change.

He escaped from prison with the face of an enemy - back!

His wife regarded him as an enemy, his daughter regarded him as an enemy, and his colleagues regarded him as the culprit of all evil.

The insider, who knew his identity, fell unconscious and became a vegetative state.

His state at the moment is that of a hostile wild ghost.

The music of "Merry Christmas" was slowed down a few beats, a little less cheerful and a little more gloomy.

Songs sung by children's voices slowly rise.

The montage picture, in front of his eyes, is the picture of his son falling in his arms and being tickled by him and joking with each other.

Bam! blood splattered on his face.

A thunderclap!

In the montage, the son's face slowly shatters in the night sky.

"I'm back. ”

Accompanied by the rapid beat of the soundtrack, Zhou Yunfa turned his head again, "Are you ready?"

……

Jingle bell, ding bell......

In the restaurant not far away, Liang Jiahui was dressed in a decent tuxedo, like a decent gentleman.

Holding a glass of cherry-flavored champagne in his hand, his eyes were full of cynical blasphemy, and he looked playfully at the gentle and virtuous 'wife' in front of him and the youthful and energetic 'daughter' with a pair of peach buttocks.

The fingers casually pressed down the record pointer, and the cup flung unscrupulously to the side of the carpet.

The camera lowers the close-up, patting the cup rolling round and round, and in the shot, the man's feet are approaching the woman's high heels, and suddenly ...... The woman's feet were lifted in the air -

"Da Da Da-"

The stirring cha cha dance music sounded on the record player!

"Peach, let's do a dance. ”

Liang Jiahui's slightly hoarse voice was full of ** and indescribable excitement. He twisted his hips, stepped on the dance steps, walked towards Lin Qingxia, picked up the other party's chin with his fingers, turned his head suddenly, looked at the bewildered daughter next to him, and blinked his slender eyes, "Come on baby, how about dancing with your parents?"

Dance to your heart's content, the whole person dances with great joy.

Mother and daughter looked at each other, both shrugging at each other.

Click!

With a loud thunder, Liang Jiahui raised his head with a smile, and looked at a familiar figure not far away.

tilted his head slightly, his eyes showed banter and evil, and then he deliberately hugged his "wife" and "daughter", laughing very maniacally.

"I'm going to see if the Christmas meal is ready...... his wife smiled softly.

Liang Jiahui tapped his fingers between his eyebrows, and gestured to a familiar figure not far away, and then showed a little innocent expression between his eyebrows.

Zhou Yanfa, who bit Wade's cheeks, was cold, full of irrepressible anger.

After changing his identity, 'Liang Jiahui' became a hero of the police department, pretending to be Liang Jiahui and becoming a hero, and also enjoyed his wife, and at the same time began to arrange for the police to cause 'Zhou Yanfa' to die.

The whole thing took a turn for the worse.

Click!

Another thunder –

Illuminate the surroundings of Zhou Runfa.

A black umbrella stood behind him, everyone in black clothes and black pants, standing in a very elegant position behind him.

The use of lighting effects to express the interpretation of space by the station is a labeling technique of Wu Xiaozu. This scene is no exception, as the thunder and lightning shine, the audience will see the position that flashes behind them.

The "accomplices" standing behind him stared coldly at the place, and the whole picture was full of ritual and epic.

Two people who have exchanged identities are looking at each other from a distance.

One danced with his "wife" in his arms, and the other led people to look at him from afar.

This kind of ritualistic stance itself indicates an implicit "choice" and "bond".

When the camera gives the other party an objective shot, it is mixed with their own subjective lens display.

Through the inheritance of the "little habit" after the two actors swapped identities, the two people were actually clearly expressed through the description of details.

In the first few dozen minutes, the two kept clashing with each other.

Confrontation with the explosion of the plane.

The first showdown after the swap of identities in prison.

Engagement during the capture.

Each time, the two of them brought sensory and psychological stimulation to the audience wave by wave.

"It's an interesting weather, have you noticed?

Before Liang Jiahui changed his face, and before the identity swap was destroyed, it was all sunny when the police appeared.

When the face change is out of control, black and rainy days become the norm. ”

Fang Paul said to Lu Yanhua, who was writing and painting next to him and religiously recording his feelings: "Wu Xiaozu's set of shots really has the feeling of an epic film.

This is the first time I've seen this kind of 'mirroring' in a Hong Kong Island filmmaker. It's very similar to Akira Kurosawa's Rashomon.

In Akira Kurosawa's Rashomon, the two sides identify each other's killers. Isn't it the same this time? I still remember a set of scenes from that movie that I remember very well:

The rain is pouring down, the smoke is misty, and the picture of Toshiro Mifune, Minoru Chiaki, and Joe Shimura standing under Rashomon.

This set of shots on a rainy night also has an extraordinary sense of ritual. ”

"Day and night, it's a sensory mental suggestion.

In fact, Wu Xiaozu showed many breathtaking psychological hints in this "Two Heroes".

The previous 'X' icon, the camera change between day and night, and the small actions of the characters themselves, the original police liked to frown, but now Chow Yun-fat is the police after the face change, he still retains this habit, so that the audience can easily distinguish the characters.

The whole movie is not only a blood-boiling gunfight movie, but also a good textbook that renders the atmosphere, environment, and characters to the extreme! All filmmakers in Hong Kong should watch this movie. ”

Lu Yanhua, Wu Chui, began to serve as a praiser.

This kind of unseen appearance is not a minority in Hong Kong Island movies. There is such a big "Hong Kong films do not produce Wu Xiaozu, and literature and art are like ...... long nights"!

"It's really exciting!"

The other film critics next to him nodded wildly in agreement, "Director Wu deserves to be the representative standard-bearer of the post-new wave!"

In this way, several people raised a kind of excitement to each other, "If the end of the world is next to each other, Lao Tzu and my surname are Wang".

In this "Two Heroes", the audience saw the coolness, the filmmakers saw the innovation and skills, and the film critics saw the feelings and metaphors.

A good movie is always able to appeal to different people with different sides.

Even many people feel that this movie has a metaphor alluding to Ninety-Seven.

In the 80s and 90s, most of the Hong Kong Island movies showed that they were confused and worried about the future, which can be seen clearly from many details.

This kind of confusion may be an incomprehensible thing in later generations, but it is true in the 80s and 90s, when the bars were not yet bred.

First, there are naturally filmmakers who are really worried about the situation.

Second, it is naturally a kitsch ticket warehouse, especially Wanwan's ticket warehouse.

Some people say that there is no need for kitsch electrical inspection office?

The reason why film classification has a long way to go in the mainland is not only because the consequences of the classification system are contrary to our laws. For example, the dissemination of obscene information is prohibited by law.

Therefore, unless the supervision can really be put in place, grading is not a realistic thing in the short term in the mainland.

Another reason is that there are no special circumstances for classified movies, and the electric inspection office is not allowed to say no to the movie! That is, he cannot refuse you to release or block you.

This is ...... for the Mainland's Electrical Inspection Office It can also be a difficult thing.

In the eyes of different people, there are different Jay Lun Xiaogongju and Damu, different Lao Bi and Ken Yamagata , and different Sakurai Lia and Zhang Shaohan......

This is the case with the movie "Two Heroes".

Some people see the surging blood, and some people see the implied metaphor.

Cinema is an art that everyone has their own concerns. Through self-observation, we can discover different points of attraction.

A good movie must have a thousand interpretations and viewing angles.

…

The plot of the movie continues.

In the last group scene, several people confronted each other with guns like a Russian turntable, and with a wonderful fight, Zhou Yunfa and Liang Jiahui rushed into a room in the playground where "Nicholas Tse" was killed.

"Brush! bang—"

Zhou Yanfa suddenly raised his gun to the opposite side, looked at the same self on the opposite side of the gun raised, and pulled the trigger without hesitation, and in an instant, one side of the glass shattered, and then the sound of gunshots and glass shards came from the side.

At this moment, the camera looks around, and countless mirrors are arranged irregularly in the room.

"Brush!"

Liang pointed to the mirror, and in the mirror was his most familiar face - Chow Yun-fat's face was refracted in front of him after not knowing how many times it had been refracted in the mirror.

"Wow...... Wow ......"

A purely musical soundtrack of "Berlin foot chase", which was a classic in later generations, sounded, making the audience nervous.

This soundtrack comes from a very classic series of movies in later generations - "Spy Shadow".

The atmosphere is getting tense.

In this plot, Wu Xiaozu uses an oblique picture composition, so the portraits reflected on the mirror are also oblique shots. This kind of shot itself reflects the nervous and subversive mood of the two protagonists.

Shake the mess and urgently need to be straightened out!

The feeling revealed by this oblique composition also makes many people feel that Wu Xiaozu exudes a thick and viscous talent!

This kind of application to the mirror is not original to Wu Xiaozu, before that, the great director Tarkovsky's "Mirror" can be said to really let people appreciate the master's wonderful use of mirrors.

Wu Xiaozu captures the "mirror feeling" of the mirror through the lens through the mirror. In later generations, the application of the mirror in Yang Dechan's "One by One" is also full of talent.

The metaphor of the character's psychology and the complex and diverse lens processing, this shot is enough to make peers embarrassed.

In order to shoot this scene, Wu Xiaozu deliberately spent hundreds of thousands of dollars to build a special shooting room. The camera position of the lens is tight to the point of harshness.

"Mirror ......"

Wang Jiawei, who was sitting in the audience, suddenly turned his head and said to Liu Zhenwei: "I feel that this mirror shooting is really amazing!"

The two protagonists look at themselves and their faces in the mirror, which is not a search for their true selves!

The use of mirrors can create a sense of hierarchy in the film, and it can also convey psychological feelings, which is really sharp. A genius show!"

Wang Jiawei saw the wonderful use of Wu Xiaozu's mirror and left a deep impression in his heart.

In later generations, if you watch Lao Wang's movies, it can basically be summarized as "Wang Jiawei and the mirror must be said!"