Zhao Huai 'an Wealth _ History of Zhao Huaian

Flying swords of dragon gate's 600-word film review

The first 1, can't say the visual effect.

When it comes to flying sword in Longmen, it is difficult to bypass its visual effect and go directly to other topics. The film eagerly announces the level of its visual effect from the first shot, and then continues to conquer the audience's senses at the same level until the last shot.

In 1960s, the audience was fortunate to be the first to witness the Longmen Inn in Hu Jinquan. The audience in the 1990s witnessed the birth of the new Longmen Inn. Now, the audience has seen the dragon gate flying sword. The 3D effect of movies is comparable to Hollywood blockbusters. Why do words have to be called Hollywood? Just because Hollywood's technology is really powerful. The three-dimensional sense of scenes such as shipyard, Wanyulou and ancient desert city is almost within reach. In the film history of China, "flying swords of dragon gate" has made a great contribution, which is hard to deny by those who have a negative attitude towards the film. The overall technical level of Chinese films is far behind. The previous 3D products were too weak, unlike 3D. The flying sword in Longmen is like a phoenix flying out of a ravine, which is naturally particularly dazzling.

It has been two years since Avatar started the 3D era. The new technology is the most powerful box office harvester. China films will lose more and more markets if they don't participate in this change as soon as possible. Technical madman Tsui Hark lived up to expectations and put on gorgeous new clothes for the most distinctive Chinese movies. 3D is a publicity stunt and a real attraction.

For thousands of years, China blockbusters, which mainly focus on costume movements, have created an embarrassing landscape of the times, winning the box office while harvesting curses. Every costume film comes out with countless mouthfuls of water, including martial arts films. Chen Kexin, who is like a duck to water in the mainland market (watching film and television works online), is a martial arts film with the name of "martial arts", and its production is also very exquisite, but it has been denied by word of mouth and the market. The narrative strategy of martial arts films and even costume action films obviously needs innovation. Wong Kar-wai (watching film and television works online) and Jia (watching film and television works online), several art film directors, all have plans to shoot or prepare martial arts films. What kind of narrative and aesthetic breakthrough they will bring to martial arts films is still unknown. Tsui Hark is one step ahead in technology, or opens up a new way of life for costume films, including martial arts films. Martial arts films that have begun to fail in the market will be revived by 3D, and a new wave will emerge.

2. Old wine in new bottles

When talking about editing, george lucas said that all arts are skills, and artists always encounter technical problems. The contribution and harm of 3D to film aesthetics remains to be seen. Lucas said nothing more than the importance of technology. Jia said on Weibo that from the commercial point of view, Shushan and Longmen Feijian are two major advances in Wushu. Naturally, this mainly refers to technology.

Tsui Hark is obsessed with technology, but previous attempts often lead to box office failure, and Shushan was a fiasco at the box office that year. Looking back with today's eyes, the special effects charm of Shushan is completely absent, and the plot is not smooth. The youthful demeanor of several stars is the biggest attraction of the film. Bazin once said that although movies piled up with money, special effects and advertisements dazzle admirers, they are like mahogany chairs mass-produced in nickel plating factories, and God knows where they will be forgotten. "Shu Shan" probably belongs to a film that has been forgotten more and more, and the special effects of that year could not save its story.

There are many problems in the story of Shushan. In my opinion, although the story of Flying Sword in Longmen is not original, it is also a decent martial arts script. If it is true, more than half of Hong Kong's martial arts films in the 1980s and 1990s can't stand scrutiny. The story of flying swords of dragon gate didn't add color to the film, but it wasn't bad enough to ruin the whole film. This is an ordinary genre story. Jia juxtaposes "Flying Sword in Longmen" with "Shushan". The implication is that he is actually denying the story. The plot of Flying Sword in Longmen fully conforms to the traditional arrangement of martial arts films, the structure of the new Longmen Inn and the suspense of Di Renjie Empire. The story propped up this visual feast, and those special effects and actions found a reason for not being blunt. Predictably, many people visit flying swords of dragon gate because of the new Longmen Inn, and some harsh criticisms will come from the comparison with it. Complex or nostalgia has always been two-sided, productive and destructive.

There is something depressing about flying swords of dragon gate, the main reason is not the mediocre story.

3. Styles and customs

Movies often have remakes, because of the industrial nature of the film itself, commercial interests will directly drive countless remakes and sequels. Hong Kong movies have always liked remakes, and Tsui Hark is no exception. Many of his films are remakes of his predecessors. As for the remake, I think it's ok if the quality can be made, and it's better to die early if the quality is inferior.

The director of the port area who filmed in the north did not turn over old scores. Just look at this year, someone contributed a batch of disgusting cold rice with bad taste. Liu Zhenwei's "Going East and Going West is 20 1 1", Ye Weixin's "Happy Magic" and "Ghost Story" ... these films clearly show the laziness of the creators. After co-production, Tsui Hark's life was miserable for a time, and it was not until Di Renjie that it began to improve. But Tsui Hark never stopped making breakthroughs, and his character never lost. The imprint of Tsui Hark in Tsui Hark's films has more or less retained the elegance of the past years, instead of using a basin to carry his previous reputation and openly exchange box office with the market. Of course, you can't always compare it with bad movies. It's like talking about the visual effects of movies. It's meaningless to talk about swords only in China's films.

On the whole charm, Longmen Flying Sword is not as good as Xinlongmen Inn, mainly because it lacks some amorous feelings. Not because of the story, the story of Xinlongmen Inn is quite simple, and the complex kung fu of flying sword in Longmen is also an attempt to improve IQ. Not the main idea, the same hatred of home and country, the same affection of children. There are actors, but not all. Maybe we have changed, but not all of us. Looking at the new Longmen Inn, you can still feel the old customs. Many details that echo the new Longmen Inn are intended to connect past feelings. It doesn't seem to help, it always goes wrong. Probably all the changing factors, times, markets, audiences and filmmakers conspired to make those customs completely history.

There are no actors like Maggie Cheung (watching movies and TV works on the Internet) or Maggie Cheung, and there is no gold inlaid jade from the Spring Pavilion storm and the joys and sorrows, only her body is left. Even if Zhou Huai 'an doesn't look for Tony Leung Ka Fai in Jet Li (watching film and television works online), he can't see the kindness like Huang Feihong or Fang Shiyu. It seems that Jet Li's preaching image is also in the film. There is no action editing method of old Hong Kong films, but it is the result of the work of the same people. Amorous feelings are ambiguous and vague things, and directors and actors try their best to recall them.

Similarly, there is humor in Tsui Hark's movies. Longmen Inn is too orthodox. The comic effect of Chris Lee (watching movies and TV works online) mostly comes from her off-stage image, not the plot itself. There are bickering in the inn in Xinlongmen Inn, and there are various jokes made by Huang Feihong's disciples in Huang Feihong series, but there is not much humor in Flying Sword in Longmen, which has a serious taste left by Di Renjie. Some threads may be better if they are reprocessed.

I don't know what the fate of flying swords of dragon gate will be many years later, and its significance to China movies is beyond my personal experience, but I should still remember watching flying swords of dragon gate this winter afternoon. This makes me a little excited, and I have a feeling of what Jia called the era of video halls. Nowadays, film reviews or perceptions generally encounter a crisis of trust, or are considered as grandstanding naked gun articles or wanton abuse, so it is necessary to take risks to say something nice. Since we can boldly express our love for an old movie we like, we should also express our love for a new movie without any burden. If you borrow Ling Qiuyan, that's it.

The second article

After the release of flying swords of dragon gate, it won the admiration of the audience with its shocking 3D vision and dazzling martial arts scenes. However, it is inevitable that some non-professionals will find fault. For example, Lu Jinbo and others gave thirteen women 90 points and Longmen 19 points. In fact, these comments are irrelevant. It doesn't matter if you give Longmen a score of 0, because they don't know martial arts in their hearts, except for martial arts, they are other China people. Only those who have martial arts in mind can understand martial arts movies, and only those who understand China culture can understand martial arts movies. Some foreigners don't understand, but they know how to say: good. As for some people, this is not surprising.

Others question the story of the Dragon Gate Flying Sword, always asking: Where is my charming Zhou Huai 'an (Tony Leung Ka Fai)? Where is my fiery and affectionate gold inlaid jade (Maggie Cheung)? It seems that these people are still stuck in the classic story of "New Longmen Inn", and it seems that they are still recalling the golden performance of that generation of superstars. Don't you know that after many years, things have changed and rivers and lakes are no longer the original rivers and lakes, so this comparison is not reasonable enough. It is better to forget each other than to care about them.

Tsui Hark has said many times that flying swords of dragon gate is by no means a sequel to Xinlongmen Inn, because Jin Xiangyu burned the Longmen Inn at the end of Xinlongmen Inn. Although the two are inextricably linked, don't confuse them, because this is a Jianghu world, and no one knows what will happen tomorrow. Can you guess the accident next year? The Jianghu where the sword flies in Longmen belongs only to Chris Lee, Zhou Xun, Chen Kun and Kwai Lun Mei. Things change, things are unpredictable, there is no need to have too many associations.

Many people also ask: What is the story of Flying Sword in Longmen talking about and what do you want to express? I want to ask these audiences: Why do you want to watch movies with a heavy heart? There are a thousand Hamlets in the hearts of a thousand readers, and so is the flying sword in Longmen. Some people watch action fighting, some people watch love triangle, some people watch benevolence and morality, and some people watch business operation, each with its own differences; Just like Wong Kar-wai's In the Mood for Love and Gone in Smoke, what are you talking about? After all these years, who knows, but you can't deny the Excellence of the film. So is flying swords of dragon gate. It's really beautiful, enjoyable and exciting. As for the story, you can understand it yourself.

In my opinion, the audience doesn't have to take their luggage to the movies, which will inevitably be compared with the hoped ending. Flying swords of dragon gate is definitely an epoch-making martial arts masterpiece, and it should be called the originator of IMAX 3D movies in China. From then on, we can compete with Hollywood visual blockbusters fearlessly, which is a rare breakthrough. Few directors can really achieve such an audio-visual feast as flying swords in Longmen. Domestic technology is not up to standard, and foreign directors don't understand the oriental martial arts culture. Tsui Hark's bold attempt and unprecedented innovation should be encouraged and respected, because among China films, perhaps only he can bring China films to the industrial world. Besides, Tsui Hark's martial arts films are full of many miniature China cultures, which are benevolent, courteous and thrifty. This is obviously a good cultural export, but it can let the whole world know about our country and culture and occupy many foreign markets.

Admittedly, some small details in flying swords of dragon gate are not handled perfectly, which needs more directors and more China filmmakers to explore and improve. Tsui Hark has opened the door to IMAX 3D for us. We should explore a wider space and create more beautiful things. Because international film technology is developing forward, China's films can't be static; From silence to sound, from black and white to color, from plane to stereo, because our life is a colorful stereo space, so that shooting can be closer to life and add more creative elements.

It's wrong to criticize or even criticize flying swords of dragon gate, whether it's an ordinary movie fan or a professional filmmaker. It has been a very successful film, not only at the box office, but also an outstanding contribution to China's film technology, which is indelible. All filmmakers in China should encourage and inherit, instead of gossiping all day, because IMAX 3D movies have a long way to go and need more people to discover and innovate. Today, Tsui Hark's flying swords of dragon gate has been completed. Can anyone else do it?

The third article

No matter how high the banner of the desert border is, it can't stand the mind and tolerance of Jianghu people. No matter how low my expectations are before watching domestic films, I can't stand the game of new bottles and old wines again and again.

China people have a complex about martial arts. I am deeply attached to the classics and full of expectations for excellent works. The new Longmen Inn will inevitably become the totem of old dreams and martial arts classics in the waiting. A truly classical and elegant work like Longmen Inn has long been impossible to reproduce in this era of traditional fracture, so I still don't mention it. Xinlongmen Inn was once known as the Bible, but the era of brilliant and arbitrary Hong Kong films is gone forever, which inevitably means that the charm of the past is not enough to appreciate today after the passage of time.

Tsui Hark's technical attempts are always brave. I haven't seen the biography of Shushan from beginning to end, but those magnificent and gorgeous imaginations surprised me; I don't like The New Shushan Swordsman. In fact, that movie is like flying swords of dragon gate, with extremely flat characters, but Xia Qing's flying style in Dunhuang is really amazing.

I like the opposite of Huang Feihong and Yan Zhendong in Huang Feihong Top Gun-but I still think the bamboo ladder war is too long and the midnight war by the fire is just right; I like the head-on confrontation between Tony Leung Ka Fai and Liu Shun in New Longmen Inn, which is a dripping expression of the tension between good and evil, while Tony Leung Ka Fai and Brigitte Lin are the true feelings of the children of Jianghu who have gone through vicissitudes, far more romantic than Li Mubai and Yu Xiulian, and more heartbroken when Jianghu is flooded by rain.

When Tsui Hark devoted himself to endowing the characters with thinking and romance, his characters came to life, and the rest, the so-called story structure and the so-called narrative way, were solved with his epee weapon. In other words, he has never lacked the skill of narrative technology, and the narrative experiments of his first three works are all brilliant. Looking at the first two films "Down the River" in Huang Feihong, we can feel the realm of "seeing God but not seeing God, being an official with Zhi Zhi, eager to do things".

He can also play with his emotions and styles. The ultimate embodiment of Tsui Hark's style is the knife. He can play the style to madness, and the black temperament of the knife is far better than the respected Sin City.

When he is obsessed with new film technology and wants to bring new life to the film with technology, you'd better follow the technology to see the characters far away and devote yourself to his carefully designed action scenes and visual wonders instead of looking for Jin Xiangyu, Yan Zhendong and Dong Fangbubai.

And since the brilliant astrology of that year can't be reproduced, let's completely change it. Zhao Huaian can't be Zhou Huaian. Zhou Huai 'an, with Tony Leung Ka Fai's interpretation, is antique, upright and has a good personality. Let Zhao Huaian be a soldier. Ling is not as coquettish and provocative as gold inlaid jade, nor as desolate and sad as autumn Mo Yan. Zhou Xun was born with aura and coolness, and only ended with Ai from beginning to end.

It's not that Jet Li is not allowed to play the leading role, but that no one can play the leading role. The biggest corner here is 3D. Otherwise you can't explain:

How can the director of West be so sure that Zhao Huaian will come to Longmen Inn? Why did Zhao Huaian change things at the sight of Ling Qiuyan? Why did Gu Shaotang come to Longmen Inn, and why did he deal with Yuhuatian with Zhao Huaian? The knife in the wind has revealed its flaw. Why didn't the West Factory do it? The surprise of Su's reversal has jumped out of the category of dramatic conflict and foreshadowing.

Once in 60 years, a tornado blows out a city, but it cannot blow out two people; Can the storm center roll up two people?

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

You must make Zhao Huaian equal to Zhou Huai 'an and Ling Qiuyan equal to gold inlaid with jade, so that the bitter drama of the hero and heroine will be no problem; If you explore every line of Chen Kun, Chris Lee and Kwai Lun Mei again, it will be meaningful. Ships, sandstorms, crows and ancient cities are all prepared for visual wonders.

But for a movie, the characterization is so dull that it has basically not changed from beginning to end; The narrative rhythm is seriously disordered, and the intensive broadcast of the first half hour weakens the story context and the motivation of the characters, but when we arrive at Longmen Inn, we still can't help but stand in a row and start fighting. If all these are explained in the details, we can only say that the layout of the details is very problematic, and it cannot be gathered into a force to promote the development of the plot, which has caused so many plot injuries.

The backwardness of China's films is a series of problems from technology to concept. Of course, 3D fashion needs to be caught up, otherwise you will fall behind again and again in this visual revolution. The key is that some people can solve the problem of 3D technology, but no one can solve the problem of the film itself. Na McKee said that China films like to create a vivid and powerful character to promote the plot, but are not good at creating complex characters to form dramatic conflicts. The behavioral motivation formed by the complexity of human nature is the basis to promote the development of good drama. In "flying swords of dragon gate", the complicated characters, bright gold inlaid with jade, etc. have all disappeared, leaving only a blank piece of paper like Zhao Huaian who is bent on doing the right thing with the West Factory.

It's a pity that "Flying Sword at Longmen" is too careless in characterization, even worse than the Hongmen Banquet, which at least has a game of chess at the banquet. Li Rengang is an eccentric director who has been hurt by a strange aesthetics all his life. He often talks. At that time, Zhang Che said that he, Tsui Hark and I were the Theory of Three Represents of martial arts movies. Zhang Che is dead, Ren Gang has not yet formed, and Tsui Hark has become the biggest representative.

It is said that the employer invested in the Hongmen Banquet by looking at the pictures drawn by Li Rengang. I heard that Hollywood producers decided on this project with scripts. It turns out that our filmmakers can not only predict the schedule, but also decide the investment according to the sketches of the characters. Therefore, when Tsui Hark said that he would shoot New Longmen Inn and flying swords of dragon gate in 3D, no one would doubt that it was a good project.

At that time, too many Hong Kong films were shot while writing, and the civil and military dramas were shot separately. Even Cheng Xiaodong didn't know the ending of the role of Donnie Yen when the filming of the new Longmen Inn ended. In the golden age, however, Hong Kong films were able to make movies that needed careful planning and strict management vividly by virtue of the talents of their leaders.

But that's just a once-in-a-lifetime opportunity for China movies or Hongkong movies. If the film industry under a cultural tradition seizes the opportunity to make the industry solid, it will usher in a real heyday; If you take such a godsend opportunity for quick success and instant benefit, you will reap the consequences in a few days. Today, many Hong Kong filmmakers who went north to seek gold still cherish the dream of that year. They always think that emotional, improvisation can also be carried out with a sword, but it is just a new bottle of old wine. What's more, the audience is not the audience of the year. If you don't pay attention to the script and enrich the characters, even if you solve the most advanced visual technology problems, the weakness of narrative will make you feel powerless when you are angry. How can you soar?

So it's time for all practitioners to treat movies as an industry. Comparing De Renjie and flying swords of dragon gate, we can know that no producer knows the rhythm and context of the story, and Xu Kejian always goes into a frenzy when he goes astray. Although Di Renjie is not a martial arts, Tsui Hark's grasp of Shen Feng's chic classical romance is impressive, while flying swords of dragon gate left me with scenes and special effects. I was excited for the first half hour, and then I was even more sleepy.

By the way, do the current audience really need the former martial arts? Maybe not. Clothing and movements can be transformed into various beautiful types, not necessarily martial arts. Even if it is necessary, you will feel that this martial arts is not what you want. Times have changed, times have changed, and people's hearts have changed. Costume action needs to quickly solve how the role is recognized by the audience, how the story is substituted by the audience, and how to have an acceptable value for the audience. Whether it is martial arts or not is another matter.