As the successor of Xiangjiang comedy movies in the 80s, Stephen Chow sent away the older generation of comedians such as Huang Baiming with his original "nonsense", creating his own era. The movies he starred in have also become a genre film in the name of "nonsensical", and now Stephen Chow's comedy is so popular that we can't ignore it. Stephen Chow's nonsensical comedy film is to use its meaninglessness to rebel against classic films, including rebellion against traditional morality, traditional concepts and even traditional sexuality, that is, a kind of negation of the narrative meaning of traditional films that have always been perfect and powerful, through the deconstruction and reshaping of traditional films, creating a unique nonsensical style of film narrative style - that is, Zhou Xingxing's nonsensical style.

Nonsensical is originally a common saying in places such as Buddha Mountain, which means that a person is incomprehensible and uncentered, his language and behavior have no clear purpose, he is vulgar and casual, and he complains, but it is not unreasonable. And a large number of Stephen Chow's classic lines in the movie are expressed through this nonsensical style and are well remembered by us. Therefore, to analyze Stephen Chow's nonsensical language, the first thing to study is Stephen Chow's nonsensical language style.

Stephen Chow's films often use meaningless words in random combinations to create a comedic atmosphere in the midst of wordiness and boredom.

For example, there is such a scene in "Domestic Zero Zero Paint", when Stephen Chow was eating with Yuan Yuyi, he spit out phlegm but happened to vomit on the leg of the robber next to him. The robber took out a handkerchief and wiped it, and then asked in standard Shandong-Dong dialect: Brother. You threw up, right? Stephen Chow: yes, yes, do you have any questions? Robber: No problem, no problem. I know who's spitting up. This dialogue made us, who thought that the robbers would be vicious, ask us about the crime, except for being slightly surprised and laughing, we didn't seem to understand what he was trying to express. And at the beginning of this film, there is also a very wonderful dialogue, a prostitute-woman says to the character played by Stephen Chow: "Do you think I won't find you if you hide here?" It's useless, you're such a sassy man, those melancholy eyes, the embarrassed beard, the amazing knife skills, and the glass of dry martini have betrayed you deeply. You're so good, but there's a rule that you're going to have to pay for last night's overnight anyway." The first part of this paragraph seems to be praising it, but in fact, if you look at it in conjunction with the second half of the sentence, you will find that the previous seemingly praise is actually meaningless, and it does not match the meaning of the second half. So in the eyes of the average person, it has almost no meaning, which is why many people find Zhou's movies boring and empty.

There is also such a scene in "Domestic Zero Zero Paint": Ling Ling Paint (wine glass falls to the ground and breaks): The time is not good. Da Wenxi: Ah Qi. Ling Lingqi: Wenxi. Davinci: I want you to call my full name——— Dawenxi. Ling Lingqi: No problem, Wenxi. Davinsi: Thank you. Ling Lingqi: You're welcome, Wenxi. It would be futile to find out what such a dialogue means. However, it is precisely this meaningless remark that makes people scratch their heads and produce a strong dramatic effect at the same time. We can't (including many Zhou Hei) at least not completely dismiss this seemingly meaningless dialogue, because it reveals the absurdity and contradiction of the characters themselves in a sense. Just like Bodhi repeatedly recited in "Journey to the West", "Do you need a reason to love someone?" Don't need it? Do you need it? ......." is a seemingly verbose form of language that appropriately expresses the confusion of human beings in the circumstances of the time. The ambivalence of the mystery.

Stephen Chow's movies are also good at borrowing large paragraphs of sentences at will, regardless of the limitations of time and space, and causing people to laugh in the unclear. The laughter is followed by thought-provoking.

Stephen Chow in "Journey to the West", a postmodern classic movie (no less than the Hollywood blockbuster "Back to the Future"), whether English or Chinese, whether Chinese or Cantonese, he comes at will, does whatever he wants, and says whatever he wants. The nonsensical dizziness is used to the extreme. In "Journey to the West: Moonlight Treasure Box", the blind man was killed by a monster in order to help the Supreme Treasure. The Supreme Treasure was indignant and decided to fight the monster to the death, only to find that the blind man had gotten up and run away. The Supreme Treasure widened his eyes and asked, "Blind, aren't you dead?" The blind man said, "Helper, I played dead just now." Supreme Treasure snapped his fingers and said, "I'm kao, I've served you." And in "Journey to the West: Cinderella", in order to deceive Zixia's moonlight treasure box, the Supreme Treasure made up a touching fake sentence when Zixia pointed the sword at his throat, and in the context of the time, its original sincere meaning was dissolved. In order to persuade the Supreme Treasure to study scriptures with him, Tang Seng actually added English to the lyrics, which has reduced language to a meaningless patchwork of symbols.

And that's not all. Stephen Chow also makes extensive use of slang in his language, and combines slang with written language at will. Unbridled deconstruction, while producing a strong comedic effect, can free the audience from the strict constraints of language norms on the one hand, and can freely use language as a pastime game. On the other hand, nonsensical language also has a profound social connotation in essence, through its playful, ridiculous, and cynical appearance, it directly touches the essence of things and expresses the absurdity of the world. Just like the words and deeds of this "robbed" naked young man when he asked the police for help: He Jinyin: Actually, just now when I passed by here, a man in ragged clothes came over and said that he had no clothes to wear and nothing to eat, and that he still had his wife and children at home. I said mind a little bit, but you're so pitiful, it's up to you, ** or I voluntarily took it off, I want to help people to the end. Because I was afraid that others would think I was an exhibitionist, I called the police, and everyone communicated first. …… That man was really pitiful just now! From this seemingly insane situation, it can be seen that nonsensical self-sufficient introverted thinking still contains a special logic, even if this logic can sometimes be a little absurd.

"Nonsensical" not only includes the random and random dismantling of language, but also includes some confusion of time and space. The confusion of time is interspersed like the stories in "Journey to the West", sometimes 500 years ago and sometimes 500 years later. What's more, it is a passage where Tang Seng sings an English song. Tang Seng: The bell has to be sung: onlyyou, you can accompany me to the Western Meridian; onlyyou！ Able to kill demons and eliminate demons; onlyyou, can protect me, so that crabs and mussels can't eat me; You're the best. It's onlyyou! Supreme Treasure: Hey...... In the above paragraph, Tang Seng inserted the dialogue with the tune of the modern English love song "onlyyou", advising Stephen Chow to go to the west to learn scriptures, the confusion between Chinese and English was impossible in the era at that time, and because the dry canal did this, and through this confusion, not only increased the laughter of the story, but also the boredom and wordiness of the lecture hall were vividly expressed. And the confusion of words is also very famous lines, such as a sentence that also comes from the mouth of Tang Seng. The homophonic confusion was carried out——— "Being a demon is like being a human being, you must have a benevolent heart, and you have a benevolent heart." It's no longer a demon, it's a shemale! ”

The language of cinema also often reinvents slang and idioms. The revamped everyday language and slang often create a strong comedic atmosphere. In the "nonsensical" film, Stephen Chow has mantras that appear many times, such as "I!" that appears very frequently! And "What's your mother's last name?" "It's all a comical reinvention of the most popular swear words in Chinese." As an ordinary and complete youth. Stephen Chow will also curse in the film. In the classic "onlyyou" paragraph in "Journey to the West", when Stephen Chow was about to sing again, he reported it with "Vomit, vomit, vomit your mother's head, don't care what other people think", and supplemented it with punches and kicks to knock Tang Seng down. This scolding is just right, not only properly avoiding the drag of the plot. And the impatience of the Supreme Treasure and the verbosity of Tang Seng are vividly displayed.

At the same time, Stephen Chow also subverted the use of allusions in the film. This subversion of allusions. First of all, it is used to transform the names of celebrities, such as in "Journey to the West", Bai Gujing has a cute and feminine name——— Bai Jingjing. And in "Tang Bohu's Autumn Fragrance", Tang's mother talked about the weapon spectrum to her son: Tang Bohu: Who is the number one? Tang's mother: It's Xiao Li Feidao's mother, but it's a pity that she has passed away. "T Tang Bohu: Oh, it turned out to be Xiao Li's fucking flying knife. Secondly, it is to rename things in daily life, such as in "Tang Bohu Dots Autumn Fragrance", Tang Bohu calls the dog "Wangcai" and the cockroach "Xiaoqiang", and Qiu Xiang indicates that after treating Tang Bohu as a dog, he will be named with a number.

From the earliest Stephen Chow only starred as a supporting role in "Thunderbolt Pioneer" to the latest Stephen Chow's work "Yangtze River No. 7", Stephen Chow has played a policeman, played a beggar, played a simple rural boy, and played a construction worker Looking at these roles, it is not difficult for us to find that they all have a common characteristic, that is, most of them are in the middle and lower classes of society and live the life of the most ordinary ordinary people. To put it bluntly, most of these characters belong to some small people in society, a group that is no longer ordinary but has a special style. It is this group that gives Stephen Chow the opportunity and material to display his "three heads and six arms", so the screen images of small people with distinctive personalities quietly run into the hearts of every audience, and we will laugh, cry, or contradict, or helpless because of these little people. Therefore, after watching the analysis of the nonsensical language style of Stephen Chow's films, let's try to have a deeper understanding of the portrayal of many small characters in Stephen Chow's movies.

In Hong Kong in the early 80s, comedy movies were still mostly occupied by Mai Jia, Huang Baiming, and Xu Guanjie. Although the films of these comedians touched on the social reality of Xiangjiang, at that time, this kind of touch mostly stayed on the surface of society, and there was a lack of in-depth thinking. Xiangjiang, which became a British colony after the Opium War in 1840, has been at the junction of East and West for more than 100 years, and has always been affected by the impact of Western capitalist values and thousands of years of traditional Chinese national concepts. In the process of this impact, the people of Xiangjiang gradually learned how to adapt to this kind of intersection, how to absorb and utilize this cultural integration of the East and the West, that is to say, just like a businessman who has gone through a thousand dangers, in the calm or stormy sea of business, it has learned how to adapt to this change, how to achieve a balance, so as to survive in the cracks. This is a kind of ability, of course, to put it bluntly, it is more like a kind of acceptance and acceptance after resistance, so as to become tired, sleek, and lose the independent values that should belong to oneself.

Therefore, the people of Xiangjiang are helpless and contradictory, just like the protagonist in the Hollywood movie "The Pianist at Sea" said, many times, there are too many keys, and I can't play it. Born as Chinese, the Xiangjiang people are in a completely capitalist environment, and it is inevitable that they will not understand, they will not adapt, and they will inevitably "not be able to bounce" in the face of all kinds of things that are different from what they have seen. Therefore, with the improvement of people's living standards, people have begun to pay more and more attention to their spiritual life, and in the face of this trend, the filmmaker's original dragonfly like a shallow taste of water gradually cannot reflect the requirements of people's gradual growth, whether it is for reality or emotion.

In this case, Stephen Chow was born with his own set of nonsensical boxing similar to "wild", and he was out of control as soon as he was born, until now. Why? The reason is very simple, because it adapts to the land of Xiangjiang, it reflects the ambivalence of Xiangjiang people, in a port city where the pace of the times is getting faster and faster, his nonsense can most directly cut out the deepest soul of people, so that people can achieve a deep resonance. Stephen Chow's nonsensical performance, just like the godfather of Taiwanese music, Luo Dayou, will sing catchy but unclear songs such as "Queen's Road East" when he comes to Xiangjiang, because of the land of Xiangjiang. It can be said that Stephen Chow interpreted Xiangjiang with nonsense, and Xiangjiang gave birth to Stephen Chow with a unique atmosphere.

However, since Stephen Chow thought of using nonsense to express the unique contradictory state of mind of the Xiangjiang people, but it must have a carrier, how to find this carrier? So, we have to talk a little bit about it. (To be continued.) )