I like the rivalry between Huang Feihong and Yan Zhendong in "Huang Feihong Top Gun" - but I still think that the bamboo ladder battle is too long, and the night battle by the fire is just right; I like the face-to-face fight between Leung Jiahui and Liu Xun in "New Dragon Gate Inn", which is a vivid embodiment of the tension between good and evil between square inches, and Leung Jiahui and Lin Qingxia perform the real feeling of the children of the rivers and lakes who have gone through the vicissitudes of life, far more vicissitudes and romance than Li Mubai and Yu Xiulian, and there are more rivers and lakes at the end of the world. Pen % fun % Pavilion www.biquge.info

When Tsui Hark is obsessed with giving his thinking and romance to the characters, the people in his play come to life, and the rest, the so-called story, the so-called structure, and the so-called narrative method, are all solved with the swing of his heavy sword. That is to say, he has never lacked the craft of narrative technology, and the narrative experiments of his first three works are all talented, and when you watch the first two parts of "Huang Feihong" and "Downstream and Against the Current", you can feel the realm of "meeting with God rather than by sight, and knowing what is known and God wants to act".

He can also play with emotions and style. The ultimate expression of Tsui Hark's style is "Knife", he is able to play the style to the point of madness, and "Knife" has a far better black burst of temperament than the much-admired "Sin City".

When he is obsessed with new technology in the film and wants to use technology to give the movie a new life, you had better follow the technology to look at the characters from a distance and devote yourself to the action scenes and visual spectacles he carefully designed, instead of looking for gold and jade, not looking for Yan Zhendong, and not looking for Dongfang Undefeated.

And since the brilliant stars of the past are no longer reproducible, they simply change it completely. Zhao Huai'an can't be Zhou Huai'an, Zhou Huai'an is under the interpretation of Liang Jiahui, with an ancient style and awe-inspiring atmosphere, and a good demeanor, so let Zhao Huai'an be a martial artist; Ling Yanqiu has no coquettish and spicy gold and jade, no desolate pathos of Qiu Moyan, Zhou Xun is born with aura and indifference, and only ends up in the period of Ai Ai from beginning to end.

It's not that Jet Li is not allowed to be the protagonist, but no one can be the protagonist, and the biggest corner here is 3D. Otherwise, you can't explain:

How could the overseer of Xichang be so sure that Zhao Huai'an would definitely come to the Longmen Inn; why did Zhao Huai'an come to the Longmen Inn as soon as he saw Ling Yanqiu; why did Gu Shaotang come to the Longmen Inn and why did he deal with Yuhuatian with Zhao Huai'an; the knife in the wind had already revealed its flaws, why didn't Xichang attack him; and Su Huirong's surprise reversal had already jumped out of the scope of dramatic conflict and foreshadowing.

A tornado that occurs once in 60 years blows out of a city, but it can't blow two people, can two people be swept up in the center of the storm?

Why do you want to take a big boat from Beijing to Longmen in the northwest? Do you think you are a red cliff?

You have to make Zhao Huai'an equal to Zhou Huai'an, and Ling Yanqiu equal to gold and jade, so that the bitter love scenes of the heroes and heroines are no problem; if you dig out every line of Chen Kun, Li Yuchun and Gui Lunmei, it can also be explained, the big ship, the sandstorm, the crows and the ancient city are all prepared for visual spectacle.

But for a movie, the character creation is so flat, and it is basically unchanged from beginning to end, the narrative rhythm is seriously disordered, and the dense fighting scenes in the first half hour weaken the story context and character motivation, and when you arrive at the Dragon Gate Inn, you can't help but stand in line and start pinching. If these things are explained in the details, it can only be said that the arrangement of the details is very problematic and cannot be gathered into a force to promote the development of the plot, which has caused so many hard injuries in the plot.

The backwardness of Chinese films is a series of problems from technology to concept, of course, the fashion of 3D needs to be rushed, otherwise you will fall behind again and again in this visual revolution. The point is that there are people who solve the problems of 3D technology, but no one who solves the problems of the film itself. That McGee said that Chinese films like to create a strong character to drive the plot, and are not good at creating complex characters to form dramatic conflicts. And the behavioral motivation formed by the complexity of human nature is the foundation that promotes the development of good play. In "Dragon Gate Flying Armor", Mo said that the complex characters, the previous distinct gold and jade, etc., no longer exist, leaving only a flat as a piece of paper Zhao Huai'an is bent on going against the West Factory.

"Dragon Gate Flying Armor" is a pity, its portrayal of the characters is too careless to even be as good as "Hongmen Banquet", "Hongmen Banquet" at least has a spark of sparks at the banquet. And that Li Rengang is the eccentric director who has been harmed by a bizarre aesthetic for a lifetime, and he often opens his mouth to say, Zhang Che said back then, he, Tsui Hark and I are the three representatives of martial arts movies. Zhang Che is ancient, Rengang has not yet taken shape, and Tsui Hark has become the biggest representative.

It is said that the investment in "Hongmen Banquet" is based on the character modeling drawings drawn by Li Rengang, and I heard that Hollywood producers take scripts to set projects, so it turns out that our filmmakers can not only tell fortunes and set schedules, but also set investments according to character sketches. Therefore, when Tsui Hark said that he would use 3D to shoot "Xinxin Dragon Gate Inn" and "Dragon Gate Flying Armor", no one would doubt that this was a good project.

Today, I will play the song of the rivers and lakes again, and there will be no one in the west out of Longmen.

At that time, too many Hong Kong films were written and filmed at the same time, and the literary drama and martial arts were filmed separately, and even Cheng Xiaodong didn't know the ending of Donnie Yen's role until the end of the filming of "New Dragon Gate Inn", however, Hong Kong films in the golden age were able to rely on the talent of the leader to make film projects that originally required careful planning and strict management very colorful.

But that's just a golden opportunity for Chinese films or Hong Kong films, if the film industry under a cultural tradition seizes the opportunity to do a solid job in the industry, it will usher in a real heyday; Nowadays, many Hong Kong filmmakers who go north to pan for gold still have the dreams of the past, and they always think that the sensual and random approach can still be used against the sword, but in fact, it is just a new bottle of old wine, not to mention, the audience is no longer the audience of the year. If you don't pay attention to the script and don't enrich the characters, even if you solve the most advanced visual technology problems, but the weakness of the narrative makes you weak as soon as you move your true energy, how can you soar into the sky?

So it's time for all those involved to treat film as an industry. Comparing "Di Renjie" and "Dragon Gate Flying Armor", you can see that without a producer who understands the rhythm and context of the story, Tsui Hark will inevitably go crazy when he goes sideways. Although "Di Renjie" is not a martial arts, Tsui Hark's grasp of the chic classical romance of the wind god is still impressive, while "Dragon Gate Flying Armor" has only the scenes and special effects left, which made me excited for the first half hour, and then became more and more sleepy.