From the most intuitive visual experience, the difference between "Assassin Nie Yinniang" and the previous martial arts is that there is no assistance in the fight, and the fight is often in a breath, then pause, and each walk away. No moves, no editing, no soundtrack, no lines. In the script, it is written that when Yinniang is in the clouds and the sun, birds will swarm down. And because there is no special effects for WIA, what the audience sees is often only Yinniang jumping straight down, her skill is slightly agile than ordinary people, but there is nothing to be amazed, or even beauty. This is the energy of the Hou-guided type. Compared with a glimpse of light, what he pursues is truth, the energy limit that can be reached as an assassin. Beyond this limit, the assassin is no longer an assassin, but a legend.
Insensitiveness is also my initial feeling about the film. He captures the scenery in a "waiting for the clouds to arrive" style. If there is a scenery, he will shoot for a long time with a fixed camera, without overly rendering, letting it express itself. The power of nature, Junyi, has a sassy air, and the Tang poetry is as spiritual and beautiful as the sentences are juxtaposed together, and the qi and rhyme come together. This is the truth he loves and the most blunt lens expression. There is also a perfectly restored set of the Tang Dynasty. Except for Tian Ji'an and Hu Ji talking about the rise and fall of the candle shadow, the others all have a thick and solid sense of antiquity. After seeing it, my biological friend said that he was in a trance, "It seems to have watched a movie in the Tang Dynasty. I don't know how he did it." I think it's probably because he cast the iceberg and only revealed the huge energy hidden in the tip.
The truth that Dao Hou pursues is that he said that "clouds cast shadows through the clouds, and Yinniang has already sneaked into the room with shadows" written by Miss Tian. He can't make it. Leave it in the script, and really don't make it. Even this simple question can be easily answered with special effects. Therefore, Yinniang perched on the beam and only used a frontal middle shot to explain, without any camera movement, she seemed to be in the shooting state, and even more so, she was taking pictures of Yinniang's energy aura. Xia Jing, a powerful martial artist, felt the energy of Yinniang. He slid out of the house and saw nothing but something hanging from the eaves (I don’t know what the term that is like a lightning rod is) shaking slightly, and there is no extra close-up to explain. The hiding place of Yinniang. This "missing" lens can better reflect the martial arts of Yinniang. The so-called "hidden" expressed in the film is also one of the manifestations here. After all, the purpose of "hiding" is not to hide, but to "present."
There are two most exciting aspects of the energy competition: first, the competition between Yinniang and Jingjinger. Jing Jinger is the only master of martial arts that can match Yinniang. In the audience's understanding, this must be the climax of the whole film. However, it is written in the script that the two played against each other, but Jing Jinger felt Yinniang's energy aura and turned and left. In the final duel, the two only fought for a short time, and then separated. The camera showed Jing Jing'er's split mask close-up, and gave a panoramic view of the back of Yinniang who was limping away. This is a master trick that Hou Dao understands. It's a bit like the cracking in "The Great Master", but it's more blunt. Second, Yinniang destroys the empty paper people. Kong Konger persecuted Hu Ji with paper men, and all the happy girls ran away. At this time, Yinniang appeared and easily broke the figure, leaving only the paper men falling. The Taoist princess explained to the paper man, "This kind of Yin technique is worthless if we see through it. We practice and aim at the avenue. The tricks of such warlocks are not in the practice." Therefore, it is also a manifestation of Yinniang's energy.
And this kind of energy "collection" is even more moving. The script writes that Yinniang is hiding in a tree and is found by a Cuju child calling her to come down. Yinniang floated down, "as meek as a lamb". This is the most pitiful Yinniang, who walks alone and is stubborn and innocent.
In addition to the protagonist, the energy felt is also in some supporting actors. The generals who were discussing with Tian Ji'an, as well as the big head of the Nie family, almost used a drama-style expression of old students and harlequins. The gestures are full of gestures, loud and powerful, and the pronunciation is different from other characters. Such a facial makeup setting makes it easier to reflect the supporting role vividly. There is also Hu Ji, Taiwanese actors perform more softly, Hu Ji is less wild and seductive, but after listening to Tian Ji’an, Hu Ji’s stubborn "for the seven injustices", the energy is immediately recalled.
What disappointed me was Zhang Zhen's performance. Although I love Mr. Zhang Zhen deeply, his performance still lacks energy. Tian Ji'an is a Hu, so Zhang Zhen has barefoot, throwing things, cuju, throwing swords, wrestling and other action settings (including nosebleeds in the script, walking with clothes after bathing, etc.). These Zhang Zhen's performances are all slightly blunt, but His eyes revealed fierceness from time to time. What was most disappointing was his handling of the emotions of the three women. With Yinniang's childhood sweetheart, tearing up the marriage contract, there are confidant and unbearable relationships in this relationship. Therefore, facing Yinniang's love affair, the emotions expressed should be much more complicated. The political marriage with Tian churned her from patience to intolerable, and then broke the screen, the tension was always horrible. Finally, Hu Ji, as his favorite woman, is also the direct cause of his break (misunderstanding) with Yinniang. There are not only the forgetfulness of the ball, the lingering between the gauze tents, but also the time when Hu Ji was killed. Urgently, these treatments are slightly mild. Because these emotional differences have not been resolved, and Yinniang's refusal to kill Tian Ji'an is just like seeing the big bureaucrats and children who can't bear to kill them at the beginning, so Yinniang, the assassin, could no longer fail.
Assassin-themed novels or film works, a fixed theme is to tell "the assassin can no longer be an assassin". Most of the assassins set to be martial arts high-powered assassins moved their true feelings, so they no longer kill. The main line of Nie Yinniang's story is also talking about this matter. Therefore, it leads to the deletion that I most cannot understand and regret the most. In my opinion, the most important turning point in Yinniang's story lies in crying and laughing. Crying refers to Yinniang coming home. I heard her mother talk about the one she missed the most before Jiacheng's death. Yinniang covered her face with a silk towel wrapped in jade jue (seems to be) and wept. This was the most emotional time for Yinniang. Expression, used to express the status of the princess in her heart. Regarding the laugh, it was ruthlessly reduced by Hou Dao.
This laugh comes from the mirror-grinding boy of the Japanese Kingdom. In the script, it is written that the Mo Jing boy and Yin Niang have no language, so they always use a smile to express. It was this sunny smile that moved Yinniang. When listening to the story of the boy Mo Jing and his wife, she smiled brightly, as if she could fully understand what the boy was thinking. It was also because of this smile that Yinniang and Master Taoist girls fought back to the peach blossom garden behind the cave and escorted the mirror-moon boy and the old medicine-gathering man back to Silla. The story of Yinniang ends here. This smile is the home of Yinniang and the energy of his wife Mu Cong. After reading the subtitles and confirming that there are no easter eggs (Director Hou would not make this kind of stuff), I opened my eyes wide and sighed. After deleting this scene, the last line of the old man picking medicine, "The girl is really trustworthy, and she will come back when she says she will" (similar, forget the original sentence) became very abrupt, as if she was explaining the plot. The energy field of his wife Mu Cong was also destroyed. What we saw was only the short legs (Hou Dao's nickname for his wife Mu Cong) attacking his life with a short stick, and there was a slight worry about Yinniang's back. It hurts to think that I Cong waited for such a scene for three years. Hope to have the opportunity to hear Dao Hou's answer.
Finally, praise yourself seriously. Director Hou said, no one makes a movie like him anymore. I want to say, there are very few movie fans who seriously read the original, read the script, watch the filming notes, read all the corners of the interview news, and laughed far for two hours when they actually saw him. I hope that every year there will be at least one movie worthy of such an effort.
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