Wong Kar-wai belongs to the coffee party in the afternoon. This is already a consensus. So before I watched the movie, I didn’t expect how many people would be beaten half to death in this movie. So, for the lingering and poetic The martial arts camera is not disappointed at all. Even if it is a master of filming, a director is definitely inseparable from his original temperament. Although this is the helplessness of the martial arts fan audience, is it not the director's insistence on his own style?
In the off-film documentary of "The Great Master", Wang Jiawei said that he wanted to show the spirit of that era. I want to restore the tone of the martial artist of that era with the most authentic handwriting. He filmed for several years, chasing the heirs of various sects, and wanted to pass on the last bit of martial arts temperament. So Liang Chaowei studied martial arts, so Zhang Zhen went to his teacher, and he studied for two years without hindrance.
"The Great Master" saw the simplicity of Wong Kar-wai. He just wanted to open a door to restore the essence of an era. It's a pity that the most authentic things are often ugly, and the truth is often not what everyone wants, because it is too plain. The reality is often not gorgeous, but the movie needs to be colorful, so this is a flaw in the restoration. As anyone who has been to Guilin knows, the charm of the beautiful mountains and rivers on the postcards will be slightly disappointed for those who are truly immersive. As a last resort, the movie still beautifies the appearance and practicality of Kung Fu. In fact, Kung Fu can’t escape two hands and two legs with two gestures. Bruce Lee stood up and gave everyone a fight. After that, everyone would think that "But so". Therefore, everyone likes Avatar, likes to watch 3D special effects, likes to "see" those performances other than reality, and likes to watch fighting scenes.
But after all, some things are lakes, seas, and icebergs. What sinks under the eyes is often more exciting than what you see. Therefore, Chinese have more visual vocabulary, such as taste, such as playing, such as chewing, such as listening, such as thinking. Things that are touched with these words are often more intriguing than looking. For example, when Zhang Yongcheng talks about husband and wife, silent is better than sound. This sentence is very like life, one-tenth of the face, nine-tenths of speculation, this is life.
Therefore, the director only handed in one homework for the entire film, which was to restore. Restore an era, restore a--no, a human life. He is not making martial arts films, but more like documentaries. The master in his eyes is also human, not deified.
Times are easy to manage. To restore an era, you only need to portray a woman. The thin eyebrows in the hall, the buckle on the neck, nothing speaks for the era better than a woman. It is difficult to restore a kind of person in the era. Because people are alive, with faces, faces, smiles, spirits and spirits.
Who is the great master? Open branches and loose leaves, must be the master. Ip Man's way lies in Ip Man's technique, virtue, and tolerance. Later generations commented on Ye Wen, saying that his special thing is that he not only teaches tricks, but that he sees the potential of his disciples and allows you to use your own things to learn the artistic conception of a master. That's why he taught Bruce Lee. The so-called "teacher" teaches that there is nothing to teach, but the disciple understands that there is no end to learning, that is, success. This requires vigor, needs to transcend victory, needs to see through the limitations of this martial arts, needs to cultivate people's hearts. After forty, Ye Wen was silent, looked at it lightly, asked for stability and life, crossed the mountains, knew that the green mountains were left, understood Wan Muchun in front of the diseased tree, asked for the long flow of water, and wanted to leave a vein. So he saved himself, got a good death, Guangji martial arts. Just like the old man Gong said, "I will show you to see me, I want to see me who have been fighting all my life, and have a consistent." He left his fame to Ye Wen, this is the responsibility of the world master. They light up the lights, keep people, there are people there, and there are hope when there are people.
Can Gong Er afford a master? In terms of tricks, she should be able. It's a pity that the play also said that she had too much victory and defeat in her eyes, too stubborn, and - there was a kind of destiny in it. As long as a person is mixed with life, it is a tragedy no matter what. Some destinies are random, but they are also inevitable. Because people who practice martial arts have integrity and responsibility, there are people who cannot but revenge, and people who cannot love but never forget. The sixty-four hands became obsessive and really only had an echo, like a loud bang of a historical bell. After it rang, the bell broke. She begged for a piece of jade and stone to be burned. Sixty-four hands were annihilated, and the palace family disappeared in smoke.
The White Rose Barbershop is the leftovers of the master, and it can be regarded as a master and apprentice by accepting a bastard as an apprentice. So this is too witty and ironic, as if to say that this is the style of today. And the true master and apprentice, "there is a relationship that will never leave, a kind of cultural inheritance." What Gong Er desperately wants to get back is not Ma San's life, but the sincerity of the master and apprentice, and the integrity of kung fu.
And those era warriors who move their feet, wrap their wrists, and make every move full of thoughts, are they grand masters? Of course it is. No one alone can hold up an era. Once a accomplishment is successful, some people are forced to become a general, but some are willing to become a general.
Those who make the bones created the times, so they have heroes. And in today's era without heroes, the movie has made this "person" that creates momentum, it creates dreams in vain, or follows the predecessors to find dreams. So, this time, no matter how the director sees it, he is a luxury maniac. Restoration is an idea and a luxury. It understands that now it is true that no one wants to rebuild momentum. Everyone only wants to protect themselves. Without momentum, there will be no heroes. Therefore, the beauty has lost its heroes. The movie pityed the loneliness of the beauties, so it created a table and returned the soul of a hero.
At the end, I flashed a thought from time to time: "It's almost over." On the other hand, I always feel that the climax has not come yet. Later, I finally understood that the so-called climax of a play is always one second before the end. A movie can never be perfect because we have thousands of different imaginations about that era.
I often wonder if the best times are really over, the era of Bashan night rain and Qiuchi, the era of no less life, Qingzhou has passed the era of Wanzhongshan. That’s why we have so many nostalgic literary materials: watching lotus in fish pond in June, bogu in December; men and women love each other, talking about Qingqing Zijin; husband and wife love, talking about drawing eyebrows in front of mirror; women’s cheongsam waist in the Republic of China, talking about In the 1930s and 1940s, there were gorgeous lice, and the hero was the martial arts of Jin Ge and Iron Horse. Those one-by-one life presentations have been lost in the corner by modern people who are no longer good at creating momentum.
Every time I watch movies of the past era, I feel that we have lost an artistic conception, the artistic conception of traditional Chinese life. Modern people are clamoring that there is no sense of security, no belief, no sense of happiness, and no weight in life. Because the things we lose are called inheritance. When there is no inheritance, there will be no snowball precipitation from generation to generation. Without precipitation, where is the weight, and there is no "food" in the hands, so how can there be a sense of security and happiness? I can't help but think, fifty years later, our descendants photographed our era, what can be restored and sighed? Kungfu teaches us that the most important thing is to pass on, and what else can we pass on to the next generation?
Therefore, to see the master is to look at the picture, the artistic conception, the lines, the human relationship, the sophistication, the ordinary, the hero, the beauty, the end, the twilight, the family, the care, the faith, the stubbornness, and the time , Look at sentient beings. Grandmasters are not only martial arts and martial arts. They have sentiment and righteousness in their eyes, and can see them; when they have smiles and tears in their eyes, they can see sentient beings. If you can understand that the master is also a human, then you can let go and stick to the inheritance.
So people like writers and directors are really lonely. They are not people who live in the present. In the long river of time, they will always be the garbage pickers. The people around them keep running forward and saying that there is a golden mountain in front of them. They keep wearing gold and silver to get married and have children. The director was carrying a worn-out sack behind his back, and he kept picking up those dander, hair, fetal teeth, tears, fighting weapons, blood-stained clothes, and putting them all in that pocket. inside. The people next to them laughed at them and said, what's the use of that garbage?
But one day, they showed this pocket thing, the shadow puppet show, to the wealthy and idlers on the deck chairs. Those old men shed tears when they saw it. They didn't believe it and asked if it really happened to us. But when they lifted their clothes, they really saw the scar on their bodies.
Life is a process of leaving scars. Kung Fu, just don't look back, just heal the scar and forget the pain. Martial arts is the hero who scoured out the waves, and the hero is a passerby from now on.
However, it belongs to the writer and director's own era, and the description and restoration have been left to the lonely descendants ever since. I am afraid that in the eyes of our children and grandchildren, the peace and prosperity of our generation is a blessing and a blessing to the world; it is also a curse-in our age, singing and dancing are rising, and there are vacant golden buildings. There are only aunts and gold masters in the building, but no masters and heroes.
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