Director Wong Kar-Wai's acting style is usually unexpected and mysterious. The pilot trailer of "The Grandmaster" is also eclectic, giving people a different feeling. In terms of images, the sense of quality has reached the pinnacle of domestic films; but when it comes to the basic elements of a normal trailer, it doesn't make sense. There are no major starring appearances, no outline of a plot frame, and no words "A WKW FILM", but at the end, snowflakes are heavily painted with the four characters "Grandmaster", which is really very freehand and very generous. In fact, this trailer can only be regarded as a scene, just a small piece of the whole plot. And according to Director Wang's previous behavior, its scenes disappeared in the feature film, which is not impossible. However, just relying on this kind of drama and no spoilers, it is worth pondering how Director Wang can make this one-minute small film flourish.
The rhythm has G-spot.
After reading some of the comments of the trailer, I found that everyone talked a lot about all aspects of it, but seldom talked about the rhythm of this one-minute trailer. In fact, what impressed me most about the first time I watched it was its sense of rhythm. As big as a movie, as small as a picture, the sense of rhythm is very important. Even the most popular Hollywood blockbuster, the chaotic audio-visual bombardment will not bring the climax of the movie. As small as a simple still photo, it can be as "sparsely sparse and airtight" as my leader often describes, and its internal rhythm can also create a rich dramatic situation. This 70-second trailer is clearly divided into several dense and dense paragraphs. And this dense and dense rhythm is conveyed through very distinct visual symbols. Like Tony Leung's shot of flipping his hat, enhanced by a close-up of slow motion, it is crisp and neat when fighting the enemy, until one move is used to defeat the enemy, and the water droplets splash fiercely. Finally, when he succeeds and retreats, the hero turns around and leaves, and then slows down again. . At this time, Director Wang still felt that it was not enough, and he had to let Wei Tsai punch the camera. High-pitched music, fluttering snowflakes and high-frequency shaking pictures create an audio-visual pleasure. I guess Director Wang was thinking about having sex when he made this trailer. After reading it, I feel that this is a trailer with a G-spot. As a woman, I should have been more reserved, but I couldn't find a more suitable word to express it.
High-quality commercial blockbuster
This trailer looks very commercial. It doesn't look like Wong Kar-wai at first glance. It focuses on audio-visual effects, and it shows the "Kung Fu" genre film position from the beginning. This grandmaster is "very rude", unlike traditional grandmasters, who are gentle, courteous, courteous, and frugal. He only divides winners and losers, not right or wrong. These seem simple and straightforward, but you can't say that Director Wang has compromised towards business. In the video, with a little attention, you can still find his obvious traces of the author, his tenderness, his cool and handsome, his atmosphere creation, and his ambition to reshape the kung fu genre. Due to the pressure of film cost recovery, Wong Kar-wai's creative balance may be slightly tilted towards the market, but from this trailer, we can see that Director Wang's commercial blockbuster is definitely not a simple commercial blockbuster. The music, pictures, and some unreleased stills of the trailer remind me of classics such as "The Matrix", "Batman", "Once Upon a Time in America", "The Godfather", etc. He is targeting these high-level commercial blockbusters. Liang's robe flutters like Batman, and the music that leaves at the end is like the soundtrack of Hans Jimo in "Batman". The way the female voice hums reminds me of Morricone. Sentiment.
Xue Liming, a spokesman for Yindu Agency, claimed that the "Grandmaster" patch "Change 3" will not be dropped. In my opinion, this is not only unremarkable, but also a humble statement. Compared with the King of Sunglasses, who has a complex mind, Michael Bay, another international director, can only be a rude and rude, and there is no reason to say it.
Wong Kar-wai's "cool" aesthetics
The pictures and music of Wong Kar-wai's films always give people a unique sense of beauty. The story of the film is diluted and the characters are blurred, but the audience will still remember the walking posture of the characters, the action of lighting a cigarette, the mood of the lights, etc. , These are like a strong smell that lasts for a long time. Wong Kar-wai carefully mixes picture elements, composition, photography, and soundtrack to create a world with a unique style. No other Hong Kong director pays more attention to the temptation of this audio-visual atmosphere than Wong Kar Wai, creating a unique Wong Kar Wai-style "cool" aesthetic.
One of the "cool" elements of this trailer is that the characters are stylish and the side words are simple and low-key. The essence of "cool" is "less", the appearance is simple, and the inside is rich. In the trailer, Tony Leung is the absolute protagonist, and other characters are similar props. His long gown and white hat, his poses and his eyes, create an ambiguous image similar to a Western hero. The narration is extremely simplified, the avenues are simple, and the concept of kung fu has also been removed. A few words are neat and tidy. The light treatment of the trailer is also very simple, almost black and white, which looks solemn. Wong Kar Wai is cool, but cool does not mean cold, he is the man who knows how to flirt best.
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