At the beginning of the original version, Ouyang Feng, who was in white clothes and long hair, said, "Many years later, I have a nickname called Xi Du, everyone can be very vicious" and the matching fighting scenes have been cut. Leslie Cheung’s Qiubo is the beginning of the love affair, "Dude, you also four Is it more than a dozen years old" ambiguous persuasion. When I heard it, I was shocked: Although the drum beats were in line with the original drums, I knew it by acquaintances and the dubbing was changed.
So depressed and opened. The original Mandarin version is not the original soundtrack of the big names, but the teachers of TVB Xu Min and Liao Jingni. However, the dubbing of that version is exquisite, almost the same as the Zhou Xingxing of Master Grouper. It should be burned with candles, and it will be immortal for the generations to come, and it will be enjoyed with Taimiao. Compared with one, the new version stands out.
Of course it's not the gentlemen who criticized the new edition, or the wise and martial past of the Shanghai Translation Factory. But the evil and the poison, the shadows and pictures are like human bodies, and the voices are like clothes. I listened to the original version for more than ten years, and a point increase would be too fat, and a point reduction would be too thin. And the new version of the voice, of course, can be regarded as a beautiful costume, but it is put on fiercely, just like Lin Chong is wearing a new straw sandals: the soles of the feet are hurting.
It’s just that I’m too deeply into the original movie, and feel guilty of being “too sensitive and picky”, so I went on to watch. The scenes of Huang Yaoshi standing by the sword, the big bang, the horse thief's head and his beard, and Ouyang Feng's gorgeous white long hair in the beginning were all cut. The plot went through the drinking, birdcage, drunkenness and dreaming of Leslie Cheung and Leung Ka-fai. Brigitte Lin appeared.
So far, it was a surprise: Brigitte Lin’s sentence "My dignified princess of the country of Yan (Nian Zu)" vaguely seemed to be the original dubbing. At that time, I felt that I had picked a complete one from a basket of broken eggs, and I couldn't help it. After that, she slammed Liang Jiahui with the sword, and the cat didn't seem to hit the wall like the original.
The benefits of the original dubbing can be understood by listening to Brigitte Lin’s hysterical screams after being released by Leung Ka-fai. After that, he was calmly playing the two corners, and that didn't need to be said. When her old man was overwhelmed, the question and answer with Leslie Cheung was "Tell me, who is your favorite person" and "It's you," and it went well. However, the yelling after swinging the sword by the water after the guest appearance of Dugu Qiu defeated seems to have been removed.
After reading Lin Qingxia's paragraph, I have a general idea: the abrupt and sharp parts of the original version should be smoothed out.
Tony Leung's voice actors speak faster than the original version, but the effect is not bad. He and Leslie Cheung talked mostly, leaving no gaps once and again, so the ring of voice almost passed by. But there will still be problems. The classic passage, borrowed by Liu Zhenwei to use the part of "A Chinese Journey to the West", the original version is:
Tony Leung’s lonely and barely raised voice, "I shouldn’t have come." The
rough opposite, "Now I know, it’s too late."
Liang: "Stay Can the next hand work?" The
rough: "No, you have to keep it, and you will save your life!" In the
new version, Liang's voice is mellow and pleasant, but it is more or less like a teacher teaching a lesson; the rough knife guest voice has changed Hong Zhong, it is simply It was Wang Dyhu who changed the Golden Sword Wang Yuanba.
Then there is one of the most sincere passages in the film: Liang Chaowei killed the horse thief, and he obviously treated the changes in light and shade in his eyes. The despair of the original gray-yellow tone floating, coupled with the blue sky, now added the weirdness of the black and white change, it is really in place. Moreover, when being scratched by a knife, "blood is like the sound of the wind, it sounds good", it seems that even the texture of blood has become much more splendid-the original is standard blood like gossamer flying.
The dubbing of Jacky Cheung's version of Hong Qi also sounded like Hong Zhong. The dialect dubbing of "You come back" and "Goose don't come back" of Hong Qi and his wife disappeared. Hong Qixi changed from a semi-terrain hawker to a simple villager. Then, something bad came: when the original version of Hong Qi had a fever, when he talked to Yang Caini and Leslie Cheung, his anger was like floating, especially his self-deprecating and wry laugh that almost cracked into chuckles was really moving. And this edition of Jacky Cheung is still full of anger when he is sick, not at all like Yang Caini's worries about dying without a doctor.
And the most weird pair of scissors: the hammock feeding that he and his wife loved has been removed.
Later, it was Maggie Cheung's extra part of the scene, which cut out Liang Jiahui's disheveled pear-eating passages. As we all know, by this time, there is more music. But this time, the dense drum beats gave way to strings. The part of the violin has been greatly increased.
At the end of the film, shock sting, Leslie Cheung has a large monologue. "Things in the World Become Clouds and Smoke" have also been greatly revised, so the original deep and sad sentiment has become slender. The fire forced Jinxing to benefit the west, and the camera flashed back to Leslie Cheung's sword dancing, looking back.
Let’s end
the editing: the
added paragraphs are the feelings of Leslie Cheung and Maggie Cheung, as well as a little bit of treatment about Tony Leung; the cut part is the beginning of Huang Yaoshi’s sword to be handsome, it is those that have nothing to do with the main plot, and it is useless to shoot. Of the lens. In terms of music, a violin has been added and the dubbing has been changed. That's it.
In addition to the sound, the additions and deletions make this movie more like a movie with a coherent plot. It's like the process of grooming a man with messy hair until he gets oily. However, just like at the beginning, we didn't wait until "Many years later, I have a nickname called Xi Du, in fact, everyone can be very vicious", until the end, Leslie Cheung's elegant white clothes did not appear. At the dark gold ending, the cast and crew list flew out in a swish manner. You find that the lingering hints, possibilities, short-lived and short-lived and short-lived Western poison of the original version, as well as the various possibilities before and after, have disappeared.
And the voice:
I have no intention of offending the dubbing masters at Shanghai Translation Studio. I know how difficult it is for them to compose this film. However, their dubbing is not very consistent with the tone of the film. The voices of everyone in the translation studio are round and round, although they deliberately suppressed their sharpness, they still sound good.
The problem is that this movie is not a drama stage, not a sunny avenue. "Evil East and West Poison", familiar people know well: this is a colorful but gloomy film on the whole. Leslie Cheung's desolation, the slyness of negotiating peace talks, Tony Leung's loneliness, Leung Ka-fai's pretending to be nonchalant, Jacky Cheung's heroic and uncompromising blood. These emotions are as reckless as the desert and Populus euphratica forest.
For the great gods of Shanghai Translation Factory, their voices and intonations are too round, beautiful, and clear. The difference is big, just listen to the original version of "Man, you are in your forties too". This movie, like Leslie Cheung, whose face is often dusty in the original version, has the bleak air of gray sand deliberately created by Wong Kar-wai. The voice of the Shanghai Translation Factory is like a clean Chinese dress: this dress is too new and bright.
At least, the narrator who runs through the film, the gentleman who voiced Ouyang Feng, makes people feel that he hasn't had time to keep up with Leslie Cheung's changing smile. Therefore, the story is just like its music, opening and ending credits: more slender, gentler, more like a drama, not so much like the movie "Evil Evil".
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