Flipping through the script of the movie Infernal Affairs at hand, Levy also had some indescribable feelings in his heart. This movie is one of the movies he liked in his previous life, and in this life, it is also the one he wants to shoot. In order to shoot this movie, he specially went to Hong Kong, found the two original authors of this movie, and asked them to write this movie, just to shoot this movie to the best.

This movie can be said to be a very important step taken by Levy: after all, the previous three movies are still literary films, and this movie can no longer be said to be a literary film. For this movie, Levy also has to consider the box office of the movie and the quality of the movie, and if he wants to make this movie well, he also needs to put in some effort.

After sending away the two screenwriters, he has been looking at the script. At the same time, those shots from the two movies also flashed in his mind.

The reason why there are two is because the movie Infernal Affairs not only has a version shot by Hong Kong people, but also a version shot by Americans. Levy now wants to shoot this movie, and naturally he can't help but think of all the details in these two movies.

In my memory, the American version of the film won an Oscar — but that award, however, looks like a consolation for Martin Scorsese — and the Hong Kong version of the film seems to be more popular than the American version — at least Levy himself prefers the Hong Kong version.

Now, in my mind, if I compare these two movies, I can indeed find out. The difference between the two films.

There are many reasons why the Hong Kong version of the film was so successful. First, the performance lineup is strong enough, the joining of four powerful actors, and the large enough investment, the whole film ethnic group expresses everything they want to express. Second, this film is a rare in-depth film in Hong Kong, which shows some of the traditional cultural ideas of the Chinese through the battle of gangsters, although it is a modern film, but it does involve culture. And in addition to this, there is an important reason. The kind of undercover agent in the film who doesn't know who he is. The confusion and loneliness of not knowing where they are is is also experienced by many people - especially the psychological state of Hong Kong people at that time is very much in line with this state.

I remember someone once pointed out that this movie. It's a miracle of economics. Levy thinks that's right: a film that captures the human psyche. Nature can work wonders.

Of course. The Hong Kong version of the film is not without its flaws. For example, this movie has the flaws of most Hong Kong movies: too little foreshadowing and abrupt turns. Compared to the movies that are reflected before and after, many places are too stiff. This shortcoming has always been one of the chronic diseases of Hong Kong films, and only a very small number of classics can be gotten rid of - for example, the excellent foreshadowing of Fa Ge's heroic nature is extremely rare in Hong Kong films. But this chronic disease, Infernal Affairs has not overcome.

And, on the other hand, the street scene in the Hong Kong version is really bad. In the Hong Kong version of the movie, all the scenes are clean and spotless. The streets and alleys, rooftop alleys, are extremely neat and tidy. It can be said that the neat one makes people feel unreal.

And the American version does a better job of this, the rooftop of the meeting is almost a big garbage dump, and the outside of the movie theater is also full of garbage - this scene is not pretty, but it is indeed more real.

And, in addition, there are some episodes when filming. In the Hong Kong version of the movie, several policemen are playing golf in front of an open field, which is extremely comfortable, and in the American version, the place where they play golf is simply a leisure and entertainment place after work on Saturdays.

In the Hong Kong version of the movie, it seems that we want to show everywhere: Hong Kong is an international metropolis, and our city is beautiful and extraordinary. In the American version, these things are missing, and it is more reflective of the real appearance of the city - obviously, Americans are different from Hong Kong people, they are not rare to promote the beauty of their cities.

To make a realistic film, you need to be real, not to promote this unrealistic beauty -- a detail that Americans do better.

However, in comparison, the American version of Infernal Affairs has more problems.

This Infernal Affairs can be said to be just a gangster film with a story that has great similarities with Infernal Affairs. He does have something outstanding: it is a film with a strong Scorsese style, the foulness, the rhythm, the tone, and the shooting technique in the film are all extremely Scorsese style, and the personal color is extremely obvious.

But the significance of filming this movie is to win an award for Scorsese. The old man's 37 years of experience, the identity of the first living director in Hollywood, but he has never won a Best Director Award, it is really unreasonable. Therefore, this movie, as long as the story is about the same, and at the same time it is shot in the style of Scorsese, then it can be considered alive.

However, no matter how good a director is, if he only thinks about how to win awards when making a movie, then his film will not become a classic.

In this movie, Scorsese did shoot at a very high level, proving his extraordinary strength: the multi-line advancement of the film, the staggered and staggered structure of time and space are stitched, and the bold use of editing techniques combining parallel and cross montages to make a scattered story, while the rhythm of the shooting is tense, the narrative structure is clear, the picture is natural and smooth, so that the audience can easily understand the relationship between the characters, this level, how many ordinary directors can do it? After all, Scorsese's skills are deep enough, Nolan also likes to use non-linear narration in storytelling, but in terms of skill, compared to Scorsese, he is far worse than Scorsese, and he can complete such a complex non-linear structure of narration silently, and it is not difficult to understand, Scorsese's title of the first living director can be said to be well-deserved.

However, this still does not hide the problems shown in the movie.

Because of the lack of correct attitude towards the original version of the movie, the poetry in the original movie, the hidden meaning. The beautiful lines were all deleted by him. In the film, there is no friendship and morality of those people in the rivers and lakes, less heroic sympathy and persistence in controversy, and it has become no depth. And the two protagonists in the original film have doubts about their own beliefs and their own practices, and they have been in extreme torment, which is also not shown in the American version of the movie - and without these tortures of human nature, the style of the movie itself is lowered by more than one notch.

The Hong Kong version of the movie is good because of a lot of subtle feelings. Under the gangster film. Hidden is an exploration of human nature. But Martin's film removes all of these places. When Martin made this film, he was still shooting completely in his own style, because he liked it. He took the original work of the police and the gangsters equally. changed to his favorite gangsters. And because he admires that realistic style. He filled the play with all kinds of abuse, and there was nothing left of the original poetry, and he lost the depth of the original work.

And the more serious problem is. Because of the change of the movie script, the three scripts were forcibly kneaded into one, and the originally clear story line and character relationships also appeared chaotic.

In the American version, because the undercover time is too short, there is no emotion between Xiao Lizi and Martin Xin, then, Martin Xin's death will not play a stimulating role, and the American version has one more insider, Qu Volta is not dead, he knows that Xiao Lizi is undercover, then, Xiao Lizi is full of food, and he wants to go with Matt. Damon singled out?

What is the most important thing about changing the script of a movie? The general idea remains the same, but the details are different. But the American version of the change, the story can't be explained, which is unbearable.

If you want to say that the adaptation is good, some wonderful lines are good, but I remember the part where Xiao Lizi fought in the bar, the lines were meaningless and cumbersome, and the fight would have to chirp crookedly for a long time, and he still had to drag the text, if he met not an undercover agent but really found fault, I was afraid that the big fist would have been called up a long time ago.

Of course, not to mention the arrangement of women - Levy really doesn't understand it, could it be that Americans understand that if they don't sleep with the same woman in a two-male type movie, it means that they are not two males?

Are the police in the United States so violent? Are all bandits so stupid? Psychiatrists are so sexy that they after two meetings? These treatments are obviously failures. Some people say that American movies have to be simple and crude, but Levy doesn't think American movies have to be made like this: Is the Godfather all foul language? Isn't this an American movie?

It's not a matter of culture - the American version of the screenwriter didn't even go to see the original movie, and even thought it was a Japanese movie, and when he told him about culture, he was simply playing the piano to the cow. He was trying to fit Scorsese's style by forcibly adding foul language – a work that won an award, and it was too flattering.

Adapting a movie is like grooming and dressing up a beauty, you can let her change her clothes, jewelry, hairstyle, makeup, and even, she can tan her complexion, whiten, lose a few pounds, or even pad her chest or something in order to look good. However, no matter how much it changes, it has to reflect the charm of the original beauty. But that's not what the American version of Infernal Affairs does. The original suspense, psychological struggle, and entanglement of good and evil in human nature are all gone, and they are replaced by a set of old-fashioned gangster movies - violent, foul-mouthed, dark, gangster-based, and reduced police scenes - this approach is really not clever.

What makes people feel even more contemptible is that after removing most of the other essences, they still retain details such as smashing plasters, smashing police, rooftop meetings, and elevator dead people. Who's adapting the script is such a change? Isn't there any other plot available? Do you die if you use your brain too much?

Levi didn't want to make a movie like Infernal Affairs, not to mention that he didn't like it, but he did, and if it wasn't for Scorsese, it would be difficult for a second person to make a film like this to win an award - and even if it was really high enough, people would question why he imitated Scorsese.

Levy doesn't want people to say he's imitating someone else, he wants to make his own film - and he believes he can do it, because he's done enough research on the two films and has analyzed the differences between Chinese and American gangster films. (To be continued......)