This film has a strong national grief and self-reflection elements. Here, Huang Feihong's image is not a simple martial artist. At the beginning of the film, he has been explained as the chief coach of the Black Flag Army, so his identity should be a "scholar", so in the film Tsui Hark shows him very well. The characteristics of this style are, first of all, the traditional scholar-bureaucrats who are worried about the survival of the country, and have a strong sense of social responsibility to help the world, secondly, a pair of sturdy and iron bones that are soft on the outside and firm on the inside, and the third is the unique spirit of self-improvement. These three aspects constitute a typical traditional scholar-bureaucrat image. Of course, what this film is about is not just that. On the other hand, what the film shows is the re-understanding and reflection of the scholar-officials in the midst of humiliation by powerful enemies and social changes. Therefore, in the process of watching the film, it is no longer a simple national grief and anger, but also a process that guides the audience to think together. For example, in the scene where foreigners shoot innocent people on the stage, what we see is not grief and anger, but a The shame of the nation being trampled underfoot.
At the same time, he also described the social environment at that time. The Chinese hated foreigners but were afraid of foreigners, and the underworld was rampant but did not dare to do justice.
Another point is that Tsui Hark always subtly brings the element of love into kung fu films, which should be a major contribution of Tsui Hark. Yin and Yang can reconcile each other.
In the handling of the play, attempted rape is already a tried-and-true bridge. In addition, the character setting of Yan Zhendong is problematic. Why did it suddenly change so much?
The opening paragraph of the seaside martial arts practice with men's self-improvement music should be a classic scene of Hong Kong films.
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