"This killer is not too cold, this policeman is a little warm", this is the most intuitive feeling of "Bloodblood". This most representative work of John Woo is still dazzling today after 30 years. The killer and the police, the killer and the killer, the killer and the blind girl, friendship, rules, and humanity are always topics that cannot be talked about inside and outside the movie.
At that time, John Woo had begun to form a violent aesthetic with a very distinctive personality with "The True Color of Heroes", and "Blood and Blood" is an excellent continuation of this style. Chow Yun-fat also stepped out of the shadow of box office poison with "The True Color of Heroes", and the cooperation between the two came naturally. The film tells about a small river and lake, where the killer (Chow Yun-fat), one of the two heroes, accidentally injured the singer (Ye Qianwen) during the operation, and because of the exposed employer of the assassination operation, he did not pay a commission. There are many contradictions, and the relationship between the characters is simple and complicated. The film has to deal with how the killer and the showgirl hurt and depend, how the killer and the police deal with each other, and how the killer and the killer promise.
"This river and lake is no longer suitable for us, we are too nostalgic." When the killer businessman (Zhu Jiang) said this to the killer A Zhuang (Chow Yun-fat), the killer began to reflect on the morality of the world. The employer first violated the rules of the rivers and lakes, not only did not pay the killer's funds, but also sent another killer to assassinate A Zhuang. A friend's promise is worth thousands of dollars, and Zhu Jiang would rather get the money if he kneels down. For killers, commitment and morality are above all else. At the end of the film, Zhu Jiang, a symbol of friendship, died in a hail of bullets. This is an era when morality requires a price.
Another complicated scene in the movie comes from Chow Yun-fat and another duo, Li Xiuxian, one is a killer and the other is a policeman, born opponents. Although their occupations are different, their conduct is indeed the same. The policeman said: "You are the killer who is the least like a killer I have ever seen", and the killer replied: "You are the policeman who is the least like a policeman I have ever seen." After the test of life and death, the two finally found a common way out. There are no absolute good people and bad people in this world, only different morals that they adhere to. They are the same kind of people. They have the most glorious part of human nature. They are not afraid of life and death. In the end, Li Xiuxian, surrounded by police, shot the most shameless villain, the big boss. You must know that this is a law-breaking crime. I would rather Li Xiuxian didn't fire the machine gun, and then take Ye Qianwen to treat his eyes later.
Another slightly lacking scene is the emotional scene between Chow Yun-fat and Ye Qianwen. I think it's just sympathy, not love. This is a film full of male hormones. The director didn't spend much time building the formation of love, and Ye Qianwen also became a vase-like symbolic existence.
The film's images are tense enough to capture the subtle facial expressions of the actors. The color of blood that exists everywhere in the whole film, the movie name "Blood" comes from this. The sound of the shooting at the church will still reverberate in the ears of the viewers for decades to come, and the white pigeons are flying in panic among the bullets. The film deliberately constructs such a contradiction, so that the doves that symbolize peace fly in the most unpeaceful pictures, and the killer who is willing to donate his cornea is shot in the eye, and regret is always with him.
It is rare to see such a direct movie now. We still need friendship and commitment. The rivers and lakes are still there, and people still have to have that pure faith. An ancient saying: "A scholar dies for his confidant" should be the best footnote in a movie. Those who do not abandon morality will not be abandoned by heaven, and those who betray their faith will be abandoned by heaven. This is probably the spiritual core of John Woo's gangster films.
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