First of all, we all know that Xiangjiang was originally assigned to Britain as a colony, and when we saw the well-dressed British aristocrats set foot on the land of Xiangjiang, and when we saw them infatuated with the bright lights and rich and rich paper fans all day long, after a long time, the people of Xiangjiang, who have the modest and unassuming fine style of the Chinese nation, will inevitably produce a kind of "little person complex" of their own "nondescript" and "high and low" under the influence of the discrimination and enslavement of the British aristocracy and their living habits. This is a kind of popular plot, which is unique to the people of Hong Kong. In order to reflect the psychology of the people of Hong Kong, we should start with this group that accounts for the majority of the people of Hong Kong. And many of the slang words that exist in the lower strata of society have not provided good material for Stephen Chow.

Secondly, Stephen Chow's family has not been rich since he was a child, before he started filming, Stephen Chow did almost all the jobs that were considered low, and his acting career was also full of hardships, "little people" may be more able to express Stephen Chow's state of mind, so Stephen Chow may be easier to grasp, or rather, basically this is Stephen Chow's true performance. Finally, in Xiangjiang, the existence of most "little people" can make Stephen Chow's movies more acceptable, recognized, and resonant with the public. Next, let's take a look at how Stephen Chow portrays these little people.

The shaping of the appearance of the little people - 1. Dressing. Since he is a "little person", of course, he can't be a little high-sounding. Looking at the appearance of the little characters portrayed by Stephen Chow in the play, it generally gives people the impression that they are sloppy and dirty. For example, the "Prince of Pork", who just appeared in "Domestic Lingling Paint", is shirtless. A few random pieces of cloth covered the lower body, the beard scum on the face, and the cigarette rolls. The frowning brows and the brandishing kitchen knife look like a sloppy butcher. Even if Zhou was later sent as a spy, although the suit was very straight and the leather shoes were very shiny, it was a pity that the hair was full of rice grains, and we had to admire Stephen Chow's professionalism when we kept laughing. It's so vivid.

In "The King of Destruction", the loose white shirt and drive pants, with a white vest inside, look like a shopkeeper in a restaurant. And later, after Stephen Chow met Wu Mengda. The practice clothes you wear are also funny and appropriate enough. Let's take a look at Stephen Chow's style in "Shaolin Football", with a red vest and holes; black trousers, torn in half; Sneakers. Eyes everywhere. Who else could it be if it wasn't to collect the rags? This is the case. Stephen Chow's Ah Xing still has the lofty ambition to carry forward Shaolin Kung Fu, how can we let us repeatedly complain about poor life when we have food and clothing? And in "Kung Fu", a set of casual suits with white shirts that are a little tattered, and a bewitched boy (little gangster) is impeccably played by Xing Ye.

2. Classic body language. Stephen Chow's exaggerated body language is one aspect of its success, and many of his small gestures have been amplified by him, but it will not cause the audience to sigh, but a burst of laughter. Chow Yun-fat's body language is more of a gunfight movie, Jackie Chan's body language is fists, kicks and stunts are applied in funny kung fu movies, and Jet Li's body language is a smooth linear bracket. One move, one style is popular. Tony Leung's electric eye skills are not a day. Stephen Chow's characteristic is that he can zero all expressions into jokes, and his exaggerated movements are as powerful as his exaggerated expressions.

In Stephen Chow's films. Spit became the embodiment of "worldliness". Most of the time, Zhou Xingzhi is always potted. Moreover, in the film, the amount of saliva is magnified to a considerable extent, and it is usually more appropriate to describe it as "a scoop" or "a basin". Saliva plays a certain role in expressing the emotions of the characters, and sometimes, it should be the design of the plot, Zhou Xingzhi cannot shoot the case, and he can't scold, so he replaces his emotions with saliva.

In "Jigong", when the mechanic came to the underworld to ask for the soul of the people like Hei Luosha, Hei Luosha said "phew", and immediately poured down with a party waterfall. is a good set of saliva, which vividly describes the ferocity of Black Luosha. In addition, Zhou Xingchi's crazy eating in most movies is also the most unreasonable way to eat we have ever seen. Holding the rice bowl with both hands, raising the elbows, opening the mouth to the extreme, the bowl is close to the mouth, and a chopstick quickly moves the food into the mouth, without chewing, and the eyes are still searching around aimlessly. This typical way of eating during the week can often be seen in its films.

For example, in "Ouchi's Secret Agent Zero Hair", Ah Fa struggled to eat at his wife's birthday party, and it was not until later that everyone found out that there was no food at all in its thousands of miles. After his wife had served him food, he repeated what he had just done. This description shows Ah Fa's unyielding psychological state, although it is exaggerated, but it is very appropriate. "Whoever doesn't make Zhou Ye laugh will be called a star fan in vain." His expression and laughter can definitely make any superficially serious audience grin, not embarrassed but laughing or even hilarious, especially the long and tortuous laugh, which is absolutely unprecedented.

In his early works, they were all purely funny performances, such as "The Legend of the Deer and Ding" and so on, all of which were performed without speculation. In "The King of Comedy", his expression can be described as ever-changing, and the level is very high, which may be a breakthrough for him, his exaggerated performances in films such as "Journey to the West" have been restrained, calm with a bit of vicissitudes, and sincerity mixed with funny. Calm and ready to go still makes us laugh, but there are a few tears of amorous people, and the tears left by "Journey to the West" may be as shocking as the tears left by Zixia Fairy in the heart of the Supreme Treasure.

Although these little people show a kind of bitterness as little people in appearance, Stephen Chow's shaping of the appearance of little people is not blindly pursuing to show the misery and difficulty of the little people's lives, his description of the little people is mostly for the needs of the plot, but we can also find the shadow of Stephen Chow's idol Bruce Lee in his films from time to time, whether it is clothing or body language, maybe this can be understood as a kind of memory of Stephen Chow's idol or a kind of spiritual sustenance of Zhou.

The shaping of the love of the "little people" -- 1. The shaping of the love of the "little people". I remember writing a film and television review about "Journey to the West" a long time ago, and that was the first time I was really moved by the emotions in Stephen Chow's movie. Stephen Chow's movies are mostly ridiculous about life. A rebellion against reality, a challenge to traditional morals and ideas, however. The only way to describe emotions is that she takes it extremely seriously.

First of all, let's take a look at Stephen Chow's portrayal of the love of little people. Let's take a look at such a scene first, there is such a father-son dialogue in "Armed Yuan Su Qier", Stephen Chow: Dad, I decided to go to Beijing to rely on Wu Zhuangyuan. Wu Mengda: Ah Can, Daddy is waiting for your words. Twenty-five years of waiting! For the sake of the Suchahar family, you should do it! ZHOU: Don't get me wrong, I'm not for anyone. I'm for a woman. Wu: Hero! Die for a woman, die for a woman, and go to Beijing to take the top prize! What is the woman? Zhou: Yihong Academy's gold medal Qing official, such as a frost girl. Wu:**?! ZHOU: What's wrong? Wu: The taste is different, which is exactly what a capable person cannot, and my father admires you. I'll accompany you on camera. Two, three, four, five, six! Two-three-four-five-six: Here it is. Master, what's the matter? Wu: The young master is on camera, our family moves! **In the eyes of everyone, it is very cheap, Stephen Chow does it intentionally here, this is a postmodernist expression, even if we sometimes can't understand it.

It can be said that in love, Stephen Chow questioned the rules of human beings. Stephen Chow tried to use anti-traditional moral methods to distinguish the beauty and ugliness in the public's mind, right and wrong. Civilization and uncivilization are completely disrupted and reorganized. That is, to wake up, re-evaluate and think about people's traditional concepts. When it comes to love, especially the love in Stephen Chow's movies, there are three films that have to be mentioned.

The first is "Journey to the West", which is regarded as a love classic by countless college students. In the film, Stephen Chow imitates the Hollywood blockbuster "Back to the Future" time and space travel technique, suddenly five hundred years ago, suddenly five hundred years later, Stephen Chow is also constantly switching between Supreme Treasure and Wukong, back and forth, back and forth, making us look overwhelmed, or simply say, I can't understand anything. However, all this, at the end of the film, Stephen Chow hugged Zixia, who was pierced by the Bull Demon King, and heard Zixia say that his sweetheart was a hero of the world, and one day he would step on the colorful auspicious clouds to marry him, but he only guessed the previous life, but he didn't expect the result. Who says heroes are merciless? With the tightening spell of locking tighter and tighter, we suddenly understand that love, especially the love of a humble person who was just a thief at the beginning, can also be so great. Does this sound like a fate? Maybe the Supreme Treasure shouldn't have fallen in love with Zixia, maybe Zixia should have stayed in the Heavenly Palace, the Supreme Treasure was still his mountain thief, and Zixia was still her fairy, but everything happened so unpredictably, no one knew what the result would be, even if the Supreme Treasure knew the fate of the scriptures he was going to learn, she was still desperately resisting, desperately escaping, evading from him that he thought it shouldn't be his end. Zixia couldn't stand the rules of the Heavenly Palace, so he chose to pursue, to pursue her freedom, his fate, and her love. In the end, he found the Supreme Treasure, she thought that she had finally found her belonging, but she never thought that in the end, what she gained was nothing. His escape, for the sake of fate; Her pursuit, for the sake of fate, their results, return to fate. At the end of the film, after the storm, Stephen Chow turned into a sunset warrior, kissed the deepest kiss on the portrait of the woman in the city, and then, threw away the banana peel, and turned away in the music of "The Love of My Life", who can understand the helplessness and hesitation in his heart? In the end, he did not escape his seemingly predestined fate, and could only bow down. Does this look like Xiangjiang? Isn't this the contradiction or helplessness unique to the people of Xiangjiang?

The second is "The King of Comedy", which is known as Stephen Chow's rotation directed and acted by Stephen Chow. This film is also Stephen Chow's transformation, but it has not been affirmed because of the film's anticlimactic tail. However, in the film, his depiction of the love between Yin Tianqiu and Liu Piaopiao, the two little people, is still commendable. One is a repeatedly unsuccessful actor who has never given up his ideals in the face of life and mental pressure, and the other is a bar girl who has not lost her kindness, and with the help of Yin Tianqiu, she gradually found her sense of respect and fell in love with this actor. They didn't complain much in the face of injustice, they chose to use steadfast love as a weapon in the face of this unfair fate, and in the end their success happened to be a mockery of fate. Compared with the previous Zhou's works, the theme of "The King of Comedy" is no longer a pure satire of reality and fate, it is more like an inspirational film, and its content is no longer a blind combination of contradictions and helplessness, on the whole, it is positive and upward.

The third part is "Domestic Zero Zero Paint" directed by Li Lizhi. Needless to say, the film exudes the pink scent of love everywhere. One of the classic dialogues is particularly exciting. When Stephen Chow found out that Yuan Yuyi was a spy, he frowned and sighed: I thought that we could talk about some feelings with the friendship between the two of us, but I didn't expect that it was still a deal. This can't help but remind people of many feelings in reality, maybe that's a kind of business. However, the film always promotes a natural love, a love that does not need to be expressed in too many words, a bouquet of white roses with blood, under the beautiful and affectionate singing of "Li Xianglan", it is so romantic and real.

Overall, although Stephen Chow came to dominate the film industry with a nonsensical wild boxing road, or crazy or frivolous performances, which also made the ideas he wanted to express less obvious and the film was mostly ironic or mocking of reality, however, his adherence and persistence to the original love, and his efforts to promote great natural love through the emotions between small people, have never given up from the beginning to the present.

Nonsensical movies are, of course, indispensable storylines. A careful and in-depth study of Stephen Chow's films will reveal such a feature: Stephen Chow's films are full of masochism of the set. When a person is accustomed to doing something, he must have a reason in his heart for it. Perhaps, self-abuse is a kind of wisdom for him to deal with life, perhaps, it is a way for him to commemorate the past. When masochism became a trend, the smile on her face and the mental masochism began when Stephen Chow walked towards us in broken shoes in "Shaolin Football". (To be continued.) )