Therefore, "The Grandmaster 3D" is a "brand new" movie that has been cut out, and fans are flocking to it, not only because there are more new materials, but also because this version can make the audience better understand and Understand the background of the whole story and the characters of the characters. If the version two years ago was a hazy understanding in a kind of "unconsciousness", the new version is a kind of "reunion after a long absence", which is very intimate. Thinking of the tit-for-tat mouthpiece battle in the public opinion circle two years ago, it was probably because of the material assembly itself. On this issue, Wong Kar-wai himself admitted that it was edited and released in a hurry. So no matter how you praise and kill, people will always reach a consensus at one level, that is, the material of this movie is too powerful.
If Wong Kar Wai's aesthetic is to pack a traditional Chinese cute hooligan culture in the most elegant way, then Xu Haofeng has a tendency to sit upright. Whether the relationship between lizi and face is handled well depends on the measure. The Hong Kong version of "The Grandmaster" is actually not bad. The audience's slight criticism is nothing more than a little too obvious omission. The American version aims to eliminate the omissions and let the audience see the familiar Wong Kar-wai. All of this relies on tailoring. Compared with two years ago, Zhang Shuping has cut more ruthlessly. This is Wong Kar Wai's style. It tortures you to the death and may end up cutting you to pieces. He has never been moderate, which is why he has maintained his highest aesthetic standards over the years.
In "The Grandmaster", Xu Haofeng did addition, and Wong Kar Wai did cutting. Xu Haofeng relied on his vast martial arts, philosophy and historical background to create the blood and bones of the Republic of China martial arts, while Wang Jiawei, like a cook, can sculpt works of art of different shapes at will. This is also the appearance of the two different versions of the Hong Kong version and the US version. In fact, the artistic conception of the Hong Kong version is also very high, but the time and space interlaced created by the strong "staggered connection" is a bit too avant-garde compared to this aesthetic style. Now, you can only see the intention, not the trick. In the re-edited US version, you can clearly see how Wong Kar-wai and Xu Haofeng made their moves.
Anyone who has read Xu Haofeng's novels can see that he almost implanted the essence of several of his martial arts novels "Samurai Club", "The Taoist Down the Mountain" and "Dari Tancheng" in the process of conceiving the entire script, but this is not the case. It means that it is exhausted at one time. Where Xu Haofeng is, these concepts and meanings can be infinitely interpreted and repeatedly generated. Just by looking at those wonderful golden sentences, we can see that the core of the whole film has been led to Xu Haofeng's supreme inquiry of "seeing yourself, seeing the world, and seeing all beings", which also makes this film in a strong sense of the times. On the basis of raising the limit. Therefore, "The Grandmaster" has become a possibility that can be infinitely interpreted in the "differential cooperation" between Wong Kar-wai and Xu Haofeng. In fact, this film has completed "enlightenment" for many audiences. It kept explaining and thinking, and many people finally reached a consensus today: after reading the movie, they also saw themselves. As the most outstanding Chinese-language film of this era, "The Great Master" can already be described by the word "halo", which is the most respected by Benjamin.
Published in the "Beijing News" on January 12
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