"Fighting Fighter 2": Young Master Lost, Gorgeous Fuxing Road
(Written by Vulcan Ji)
More and more violent scenes replaced quiet thinking; so what we can see is a swordsman, carrying a sea of blood and deep revenge, and starting a game Complete and thorough slaughter.
Young Master Fallen; Gorgeous Fuxing Road. The magnificence is only the appearance; the truth under the appearance is the violent chase that has been corrupted. ——Vulcan Ji. Inscription.
In 2003, "Ong-bak" directed by Prachya Pinkaew and starring Tony Jaa was translated into "Stealing Buddha Line". The eyeballs were completely shocked. They sold tickets and were well received, creating a box office record for Thai movies. After that, Thai action movies all liked to associate themselves with the word "Boxing", which made this series of movies appear. So mixed. Before writing this movie, let's take a look at the so-called "Boxer".
First remove the 1994 Towatchai Ladloy and Panna Rittikrai's "Spirited Killer" (Spirited Killer) directed by Towatchai Ladloy and Panna Rittikrai. The standard of this movie is to be an afterthought, because Tony Jia used to play and He played a small role. Later, as soon as Tony Jia became famous, the movie turned him into the protagonist and changed his name to "Fighter Fighter" to spread across China. In fact, this movie has nothing to do with "Boxing Fighter", and I went to the local area to find Tony Jia. I watched this movie depressedly, from which I can see the strong taste of early Hong Kong movies. Rather than a self-contained "Boxer" movie.
More reliable, it should be the other film "Kerd ma lui" (Kerd ma lui) directed by Pana Riticle in 2004 and "Fire Cloud" directed by Chalerm Wongpim (Chalerm Wongpim) in 2006 "Khon fai bin" (Khon fai bin); Phan was originally one of the four screenwriters of "Stealing Buddha Line", and the starring of these two films was also starring Dan Chupong, a small supporting actor in the original "Stealing Buddha Line", regardless of The character's appearance or action design is more like Tony Jia's routine, so it can be regarded as a peripheral product of "Boxing".
Looking at the main creative team of those Thai action movies, and the movies with the name "Boxer", if you want to be orthodox, maybe only "Tom yum goong" (Tom yum goong) directed by Prakiah in 2005, 2008 "Chocolate" (Chocolate) directed by Tony Jia and "Ong bak 2" (Ong bak 2) directed by Tony Jia and Youze. Of course, if the director’s style is really required; this majestic title is directly titled "Fist Fighter 2" at best, but it can only be regarded as a peripheral product; this movie and "Fist Fighter" have no plot. The connection of the movie has also completely changed the style of the movie. Except for the iconic Tony Jia, it is actually not related to "Boxing".
The eye baptism that "Stealing Buddha Thread" once brought us is still fresh in my memory. I didn’t know it when I first watched it. Later, I received the "Stealing Buddha Thread" by chance. D9, the production tidbits in it solved the mystery for me-it turns out that action movies can be shot like this-maybe Tony Jia in that era was just a little kung fu kid, maybe Pula at that time Chia still has enough patience, as well as the enthusiasm and piety to make a classic action movie, so they can actually rent an empty warehouse and let a group of supporting actors serve as Tony Jia's sparring partners and practice the movies in the movie. Each action lasts for several years, and finally all the actions that have been rehearsed countless times are perfectly integrated into the movie.
How could an action movie filmed in this way not become a classic? With this kind of patience, energy, time, and belief, and spending huge sums of money and countless days and nights to polish a movie that has been exhausted, everyone is quiet and vanity faded. The result can be said to be worthy of effort. After the movie came out, almost the entire creative team suddenly became a star team. Tony Jia became an international action superstar, and Prakiah even engraved his name on the front line of Thailand forever. Director’s list.
The same team created "Tom Yum Goong" two years later. Although still sincere and sincere, in general, it has shown a trend of overall decline. The whole "Tom Yum Goong" only reminds me of the ten-minute long shot of Tony Jia entering the hotel from downstairs to upstairs, as well as the hundred-man battle before the final battle. If the War of the Hundreds is somewhat cosplayed from Quentin Tarantino's classic action movie "Kill Bill", then this long shot definitely has enough originality and originality. At least in the actions I have seen, basically no one dares to use such a long shot to depict a pure action scene.
For example, Quentin, the master of action movies, is famous for his gorgeous and varied editing and rapid transitions. After all, every action design in the martial arts scenes in action movies is very sophisticated, so editing can make every action design as beautiful and exquisite as possible. When they are connected, a group is edited and synthesized by multiple shots. Can maximize the visual effects of action movies. Editing technology is definitely an indispensable part of action movies. Movies are not just documentaries, nor are they just recording life; movies are an art form that is derived from life and is higher than life. So it must be edited, and after each action is designed independently, the film can focus more on excellence.
Long shots are more used in literary and artistic films; short shots and fast editing are more used in action movies. This seems to be an unwritten rule; and even in literary and artistic movies, there are actually a handful of successful long shots, especially in large scenes where there are many characters and a large number of extras and supporting actors. Long shots are used. It is very rare-any extra is similar to the wrong delay or too fast, the entire master tape may be scrapped and must be retaken, and the wide-angle lens also brings the most possible BUG criticism to the movie.
The position of the actors, the angle of the lens and the evolution of the angle, the trajectory of the mirror, etc., each step must be carefully planned, and each staff member must complete their work accurately and accurately when shooting, when everything is in perfect harmony. When it is just right and finally completed in one shot, a long lens has the possibility of being born. In this way, the design of a long lens, from the original idea to the final completion, takes much more time, energy and money than shooting multiple independent shots and then fitting them together.
It is difficult to take long shots, and there is a problem with using long shots. If it is not used properly, or if it is not necessary for existence, long shots will be more difficult and thankless. If there are some obvious BUGs, in addition to carrying vainly great infamy, they have to bear more criticism from the BUG. For this reason, even in literary films, long shots are often enough to discourage directors. It is precisely because of the high technical content of the wide-angle long lens that the wide-angle long lens has become an important basis for evaluating directors.
What's more, long shots are even regarded as the only criterion for evaluating a director's ability to control the shots and overall overall planning; a friend once refuted academics who hold this view in this way-if the long shots of an action film are used to measure a director's performance In terms of skill; then, don’t those little-known A film directors have become masters, don’t you see-which A film’s action design is not "natural and self-contained", which A film There are not long shots everywhere, some even have only one shot. The irony inside is really intriguing; of course, this is just a digression.
Closer to home. Although long shots, especially wide-angle long shots, cannot be used as the only criterion for measuring a director, the point of view of the ridiculed classmate is actually not entirely groundless. Using a wide-angle lens in an action movie is very risky and difficult; Johnnie To has also used a long lens in his modern action film "Breaking News", but compared with this lens, it is only It can be regarded as a stacked shot without editing.
Except for all the use of long shots in literary films, it must also incorporate action design and ensure that every action is successfully completed-from the scheduling of the overall scene to the position of each supporting actor and the completion of the action, Tony ·Jia's route, the camera's follow-up route, the shift of perspective, the design of every action is related to the overall situation. The workload in this shot is absolutely unimaginable and must have been repeated after repeated practice and rehearsal. Everything is impossible to be sloppy. It must be accurate in one go. This is many times more difficult than the long shots in literary films. In addition to a small number of fans who have knowledge of the artistic techniques of movies and film lenses, most of them may not notice the time, energy and money that may be spent behind this lens, let alone the value of this lens. .
This lens gave me too much shock. From the perspective of the overall level of the movie, this "Tom Yum Goong" is actually inferior to "Stealing Buddha Line". With preconceived notions, the classic status of "Stealing Buddha Line" cannot be challenged; however, if you follow Judging from the director's performance, this movie has far surpassed "Stealing Buddha Line" as long as it relies on this wide-angle long lens. With this shot as the confidence, Plakia is definitely able to stand out from the crowd, occupying its place as an unshakable master in the hall of action movies like summer flowers.
It can be said that "Tom Yum Goong" is a very original experimental movie, while "Stealing Buddha Line" is just repeating those classic action movies and taking the factors suitable for Muay Thai to the extreme; or it can be said like this—— "Stealing Buddha Line" is a summary and landmark Thai action movie, and "Tom Yum Goong" is a forward-looking and epoch-making Thai action movie; therefore "Stealing Buddha Line" has created an action superstar Tony Jia, "Tom Yum Goong" is a further attempt by Plakia in his personal art, and it has completely established Plakia's status as a master of action film director.
In 2008, the "Female Boxer", which many people are enthusiastic about, has fallen into a stalemate in my opinion. We can see too many martial arts styles in this movie. It is not so much a Muay Thai movie as it is a gorgeous action movie Cosplay Show-Jackie Chan’s comedy action movie Cosplay Show; Bruce Lee’s handsome Jeet Kune Dao Ka Nunchaku Cosplay Show; Cosplay Show in "Kill Bill" in the Battle of Hundred People Hall; The last railing battle of the movie, and even some Cosplay suspects from the classic fighting game "Double Dragon"... There are
many styles of action movies. This movie is like a hundred flowers blooming all over the place, and there will always be a style that suits your aesthetic orientation. Therefore, it may try to gain the audience to the greatest extent, like a summary action movie. However, this approach may not necessarily be popular; it brings another problem-unable to form a unified style, so the role lacks tension and it is difficult to make a deep impression.
Although JeeJa Yanin worked extremely hard in this movie and worked hard in a variety of martial arts styles, the evaluation she might eventually get is absolutely impossible to match. There is only one style that has developed to the extreme Tony Jia , The impression given to me is not even as good as the little supporting characters in "Kill Bill" with outstanding personalities.
"Stealing Buddha Line", "Tom Yum Kung" and "Female Boxer" should be regarded as a more orthodox "Boxer" movie series, and this "Boxer 2" can barely be included in this system; As for "Natural Fighter" and "Fire Cloud Pirates", they should be classified as another series. The two have something in common, but they are not the same. Except for these films, the other so-called "Boxing Fighters" are actually just gimmicks, but they are just scams that are far-fetched by profit-seeking artists-including producers, propaganda and translators. They are all chasing. After the success of the movie "Boxing Fighter", the market value that may still exist again and again, as well as the shameless pursuit of its commercial value.
From the perspective of "Boxing 2", it is actually quite reluctant to make it among the "Boxing fighters". There is no involvement in the plot, but it is not enough to be criticized. After all, the plots between the previous movies are not connected at all, but from the director's point of view, this movie is somewhat similar to the "Rocky" post-production. John G. Avildsen (John G. Avildsen) shot a very successful first film, and then Sylvester Stallone (Sylvester Stallone) played and you directed five consecutive shots. The sequel. I just don't know whether Tony Jia used Stallone as a lesson for him or a model of success.
The biggest inspiration from this movie is that people should understand what they can do, what they should do, and how to do it; then, do their own job well. This may be enough; this is the basis-success or unsuccess, in fact, is not so important anymore. People are greedy, eating the bowl and watching what is in the pot seems to be instinct, plus a little arrogant arrogance, the example of acting and you guiding seems to have become a common practice and common problem in the movie circle. From an actor who is enough to do his job well, to an advanced director to an overall director, it seems that many actors’ dreams are always beautiful; however, there are very few people who can complete the transformation from an actor to a director.
I am impatient to watch those so-called "self-written, self-directed and self-acted" movies, whether the creator of this "self-written, self-directed, and self-acted" is a director or an actor. Actors are a very professional profession, and so are directors; it's actually not easy to do one of them well, let alone want to do both. As far as this movie is concerned, if Tony Jia is only evaluated as an actor in an action movie, he should be considered quite remarkable; but if he is evaluated from the perspective of a director, this is actually just a matter of fact. A rather mediocre work, and a mediocre work and an excellent director are unlikely to be equal. Of course, if we are tolerant enough, we regard it as an attempt by Tony Jia in the career of directors, maybe we can look forward to his follow-up works, whether it will be even higher.
In my opinion, judging from several "Fighting Fighters", the first "Stealing Buddha Line" is undoubtedly the best. I always say that action movies are always not symmetrical in terms of their gorgeous martial arts and mentally handicapped literary operas; and the deepest impression left by "Stealing the Buddha Line" is that it improves literary opera. At the level of martial arts, one article and one martial arts go hand in hand, supplemented by profound Buddhist theories, and run through the entire movie with clues of causality, making its violence appear more convincing.
If it is required from the level of literary drama, none of the subsequent "Fighting Fighters" can actually be as good as "Stealing Buddha Line", including this one "Fighting Fighter 2". It can be said that the levels of several "Boxing Fighters" are somewhat uneven, but they can also be regarded as having their own spring and autumn. The two-headed literary and martial arts of "Stealing Buddha Line" go hand in hand, and the wide-angle long lens of "Tom Yum Kung", " "Fist Fighter" is full of flowers; and this "Fist Fighter 2" is obviously the most featureless work.
Taking a step back, maybe we shouldn't ask Tony Jia with the eyes of asking Plaki; just as we can think of it with the ass, Plaki can never play Tony Jia's brave and domineering Muay Thai. However, it is not that we have to compare the two of them, but Tony Jia is forcing us to do so. Perhaps Tony Jia is a very good actor in action movies; it’s just that we can think of it with our ass, but he doesn’t even have to think about it. If Plakia also acted in an action movie by himself, then Tony Jia would not seem so stupid; it’s just that Plakia didn’t do it, and why did Tony Jia feel that he could not do Plakia well? What can be done well.
Tony Jia is already the absolute authority on Thai action movies, so I don’t doubt the box office results that this movie may achieve-Thai action movies starring Tony Jia, this is already the best promise of box office results. . As for what we have to say, if we watched the movie from the angle directed by Tony Jia, it might be a bit of a suspicion of watching the excitement. It's just that the instigator is not us who are good people; it is Tony Jia who started it himself. Self-written, directed, and acted. Generally speaking, only politicians can complete such a difficult action. In the movie circle, forget it.
The down-and-out son, gorgeous Fuxing Road. From the perspective of the layout of the whole movie, the civil and military exquisiteness of "Stealing the Buddha Line" has completely fallen back to the level of mentally retarded Wen Opera. We have been baptized countless times in our Hong Kong movies and in countless martial arts novels. How many surprises can we expect from Tony Jia.
Of course, let alone that this movie is useless. Interspersed in the film is the memory of a young man who learns to dance, which may be regarded as one of the highlights of the film; at least from the literary drama, dance is the beauty of civilization, and in the end the protagonist gave up dancing and took up swords, guns and sticks. The resistance was somewhat forced and helpless. From the aesthetics of civilization to the transformation of violent aesthetics, this movie seems to be looking for a reasonable way of grandeur; at this point, it is considered relatively successful.
Naturally, in terms of vision, Tony Jia may not have made a big breakthrough, but he is still worthy of the audience. His father died tragically, was raised by his homicide and taught martial arts. He was even raised as an heir. In the end, he had to fight a life-and-death battle with his adoptive father for his father’s vengeance. He used to bully him in the past and almost killed him as the pirate leader. The same way of revenge, and whether the revenge of killing the father can be forgotten.
In a very straightforward way, the film cracked the grandeur that might have been obtained before and returned to mediocrity. I think this may be the reason why Tony Jia's directorial skills are far inferior to Plakia. We can assert that this is a good attempt by Tony Jia in the directorial career; but we cannot say that this is a very high-quality action movie.
Throughout the entire "Boxing Fighter" series, it is more or less the lonely flavor of the old days-Thai action movies, the classics are old, and the peace has returned; when all the glitz began to irritate people, driving them to chase some In events other than art, the so-called art has actually completely died.
In the year of the ox, Jisi is on the 26th of April in Yichou; the birthday of Yandi Shennong; 2:25 in the morning.
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Note: The movie data extension link.
■Title: "Ong bak 2"
■Translation: "Boxing 2"
■Director: Tony Jaa
■Screenplay: Panna Rittikrai
■Starring: Tony Jaa )
■Type: Action
■Place of Origin: Boxing Country
■Language: Boxing
■Color: Color
■Camera: Arriflex 435, Arriflex 535 B
■Filming format: 35 mm
■
Printing format: 35 mm ■Production company: Sahamongkolfilm Co. Ltd.
■ Distribution company: Anle Film Co., Ltd.
■Premiere date: December 4, 2008 (Thailand)
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