The current Tsui Hark is vassalized in the market tide, with ups and downs. From the beginning of "Seven Swords" to the gold rush in the mainland, I have always wanted to prove that Tsui Hark is still Tsui Hark, but the Tsui Hark at this time is no longer the Tsui Hark of that time. , "Di Renjie: The Empire of Heaven" has a pair of Tsui Hark's outer skin. The quirky imagination and outrageous exterior design can only create works that look like Tsui Hark, and the core has long since disappeared.
Tsui Hark is fickle. The earliest New Wave films "Butterfly Change", "The First Type of Danger" and "No Door to Hell" are based on a cold and sharp sense of social criticism, with suspenseful plots and extremes. Imaginative scenes are designed as expression carriers. Several later films, such as "Ghost Horses and Wisdom Stars", "New Shushan Swordsman", "Shanghai Night", etc. gradually adapted to the needs of the market. Fast-paced martial arts or gun battle scenes, Hollywood-style gimmicks and comedy styles became his main means of expression. . Tsui Hark really became the main force or chess player of Hong Kong movies, because of his mid-term martial arts series peaks, such as "Kao Ma Dan", "Knife", "The True Color of Heroes" series, "New Dragon Inn" ", "Swordsman" and "Once Upon a Time" series, all show Tsui Hark's chivalrous feelings and the ultimate heroic character. The rumbling sound of gunfire and fancy swordsmanship and swordsmanship are very important memories of my childhood. After his return in 1997, Tsui Hark's changes continued. After Hollywood returned, he encountered a bottleneck in his creation. For example, the artistic pursuit of "Downstream and Countercurrent" was not recognized by the market, and "The Legend of Shushan" was more in form than content. It has also been criticized many times. As for Xu Hark going north to the mainland in 2005, after a "Seven Swords" entered the mainland market, its influence and prestige have not been as good as before, and the former chivalrousness will always be fixed on the former screen.
This year's "Di Renjie" directed by Tsui Hark gave me some expectations, looking forward to Tsui Hark's rejuvenation. I refer to Tsui Hark's return to the theme of the new wave when he first debuted, relying on suspense stories to express a social The core of critical meaning. It is both fantasy and reality, both ancient and modern, and it is in such movies that we get to know the lush Tsui Hark.
Di Renjie was a famous prime minister in the early Tang Dynasty, and should be regarded as a character similar to Bao Gong. The story emanating from Di Renjie must be a story related to the case, that is to say, this movie will have a suspenseful plot. And make the audience unable to extricate themselves from the environment foreshadowing. With such expectations, I walked into the movie theater, but found that I was cheated. This film does not seem to be telling the story of Tsui Hark, but a political comedy or suspense drama produced by authentic Huayi.
Perhaps Tsui Hark contributed to the stunt of the Tongtian Buddha in the movie. In the film, Wu Zetian's toilet hairstyle and European style may have been guided by Tsui Hark, but there is no trace of Tsui Hark in his bones. For this story, the screenwriter Chen Guofu's influence Obviously to be much bigger than Tsui Hark. It may be my wishful thinking to think so, but it is undeniable that in "Di Renjie", it is difficult for you to find the core of Tsui Hark, even within the framework of a story that Tsui Hark is familiar with. In the end, the only thing left in my mind is the shape of Tongtian Buddha, Ghost City, Deng Chao and Carina Lau crying ghosts and gods. These are just figurative things, and what is the spiritual core and significance of Tsui Hark?
Of course, it is a bit harsh and inhumane to demand such a spirit and meaning for a film that has entered the market in pursuit of box office and entertainment, but this is a film by old man Xu, and the free and easy and chivalrous spirit is all there. Said, it's still just on the surface, so Old Xu is really weird.
At the end of the film, Di Renjie put aside his edge, recognized Empress Wu Zetian, and handed over the mace, which is of course an understanding of history. But Di Renjie is also Tsui Hark, and he surrendered his edge to conform to the market and the producer.
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