After reading so many copies, I always want to write something, but there are too many people to avoid controversy.
I'm not evaluating the filming technique or plot alone, but talking about the motivation.
Whether Ip Man or Bruce Lee, it may not be really good at fighting, it is actually a cultural symbol. What is contained in cultural symbols should be the essence of culture rather than national sentiments. I always think that Yen Zidan's Ip Man series has very serious emotions. This kind of national sentiment of resenting women is not so much to show the wonderful side of Chinese culture to the outside, but to cater to our imagined foreign enemies internally. Look at the contents of Ye Wen 1-4, any problem will be solved by force in the end. Many people will definitely say that I am more real, how do you watch kung fu movies without fighting, and what to watch? However, the reality is that Chinese people say that kung fu is just to keep fit, and they are eager to fight with others. When it is over, they have to use a compelling excuse as a guise. This model has even become a hypocritical routine. This was the case with Fearless in the past, Huang Feihong was like this, Chen was really like this, and then Ye Wen did the same. Look at the Kung-fu movies made by Wong Kar-wai next door, do you have the national sentiment as a bitter woman all day long? Is there a ring to beat foreigners? Ip Man's series 4, the risk of national subjugation and species extinction during the Sino-Japanese War is understandable. It was Tyson and the Marines again. How could it be such a coincidence? Is the discrimination concentrated on you alone? Cultural symbols should not be a catharsis, nor should they overly coerce national sentiments. Usually we say that all cultural ones must be national, but they should not be emotional. In today's time and environment, when you make this kind of work, you have almost written the words "other people have different hearts" on the screen. What is the result now? As soon as the audience sees Chinese Kung Fu hitting foreigners, they will immediately climax! This is dangerous. When the national sentiment is high, you can fly high, and when you reverse in the future, you will be criticized badly. Even if you can't fine-tune the cultural heritage, after offending the stylist, Huang Sir next door can perform the old port style on his own, although the script is terrible. Why can't you put more effort into culture and pave the way for venting your emotions? Kenji Kawai doesn't even dislike you, okay?
Just talk about the external, so what about the internal? Whether it is Ye Wen or Li Ada, maybe they are very good, but no matter how martial arts masters can fight, they will have one day old. It is important to leave something for future generations. Inheriting this thing to this day, the result is Xu Xiaodong, I think it can explain the problem. Another martial arts movie "Master" starring Liao Fan shows the dark, narrow, and unbeatable side of traditional martial arts to the fullest. My evaluation at the time was:
This film shows the gloomy and narrow-mindedness of traditional martial arts, and deserves no one to succeed! The rules and systems are everywhere to suppress people, and the capable people do not get ahead. The masters are forced to besiege and retaliate. This martial arts is like the emperor's new clothes. The pretenders gather the courage of the crowd, cling to the warlords and bureaucrats. If they don't grow up, they won't be able to see the good of others. It's really rotten.
Someone must also call me negative energy. This film just tells the reason why the essence of traditional culture is cut off from the root. In fact, this is also reflected in Yen Zidan's Ye Wen. For example, when you open a boxing gym and accept disciples, other boxers have to be embarrassed to collect protection fees, and you have to compare who is authentic and so on. The King of Sunglasses next door broke a piece of sesame seed to solve the problem, and when he arrived at Donnie Yen, he would have to fight a lot. It was really clichéd.
Liang Chaowei changed from his personal circumstances to the evolution of times and martial arts group portraits. Although Pharaoh would inevitably be guilty of turmoil, he was culturally qualified. Although Huang Sir offended the stylist, he picked up a bad script, which can still be viewed as a feast, and there is still an aftertaste of picking his teeth after a meal. Master Liao really made a small person, so real that he was a little nauseous, and he brought his skills and helplessness to the world in the shadow of the sword, but he could withstand the praise. Zhou Xingxing has no culture but can be funny, and he is very serious, honest and straightforward. This persistence makes people willing to make up the box office. Even Killing Bill gave you a cultural display from a Western perspective with considerable respect. But there are people who have impure motives.
Maybe Ye Wen is very busy and doesn't have time to think about it.
In fact, to close, the first part will do. I didn't want to write about it. I didn't make progress after shooting four movies. What does your winning and losing have to do with your country and nation? You are full of business. If you beat MMA by kicking your eyes, it means you are good at it, right? The only two players in the film who will be able to fight are turned into dragon sets.
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