But when I actually saw the movie, I had some doubts again. Because in the first ten minutes of the movie, the description is completely about the daily routine of a farmer in a remote mountainous area, which is completely incompatible with the word martial arts. Had I not recognized that the man who went up the mountain to chop wood was Donnie Yen, and the woman who was cooking and cooking was Tang Wei, I would almost doubt that this was not "Martial Arts" but "The Farmer".
Even when the two unkind, gangster-looking men walked into the village, sat down to drink, and then went into the paper mill, I didn't even realize that this was the beginning of the eight-minute patch that was released before. Liu Jinxi, a paper mill worker, Liu Jinxi, a good-natured man, and Liu Jinxi, a martial artist, started fighting.
Then Takeshi Kaneshiro came with a look of Conan. This man named Xu Baijiu wore a robe and a straw hat that was limited to the world. He doubted everything in this mountain village with a skin-smiling smile. Liu Jinxi couldn't escape his magic eye, he felt something strange. What's even more bizarre is actually still to come.
Routine is a classic (or badly used) model: a martial arts master is tired of fighting, and is determined to retreat to the arena, but after all, he can't avoid the turmoil of the rivers and lakes. The master must still be the master, the arena is easy to come in, and it is never so easy to withdraw, and between soldiers and thieves, the two heroes will always cherish each other, so that when the enemy is present, they will jointly deal with the attacking strong enemy. The first half of the story, which is full of literary and artistic feelings and the suspenseful film's case-solving process, is completely to create atmosphere and emotions, and to make a heart-stirring pavement for the future battle of life and death.
After watching "Martial Arts", my deepest feeling is that this is an author-style movie with an extremely strong Chen Kexin style, because in the process of watching the movie, I always think of him in the ufo era. That should be a very happy period of time for him. He started his own company with a few old friends and made some literary light comedies. The cost is not high, the box office is good, the story is easy, the actors are relaxed, and the reputation is good. I remembered for no reason a movie called "Happy Hour". In this movie, Chen Xiaochun, Zhang Zhilin, Xu Zhian, and Liu Qingyun played the little people in the city, all kinds of grudges, all kinds of hurt friends, all kinds of pick-up girls, and the director is now heading into the speeding car and exploding. The action leader of the big scene is Chen Musheng.
I know that whether it is Chen Kexin or Chen Musheng, although they have always stated that they want to make a literary romance film, they are unlikely to make such a pure urban love comedy back then. When I thought of this, I thought of another urban light comedy produced by UFO, "Doctor Rogue" starring Tony Leung. Don't be fooled by the name, this movie is actually about a highly skilled doctor who doesn't want to go to the hospital to treat the wealthy to pamper him. Instead, he goes to treat the prostitutes and prostitutes in a mixed temple street. In fact, isn't this a bit similar to "Wu Xia"? The master lives in seclusion, originally wanting to be happy, but danger will always come.
Recalling the Hong Kong movies back then, it is always inexplicable melancholy. In fact, it is not inexplicable, because all kinds of high spirits, all kinds of happy and enmity, all kinds of cozy and lightness, until now, are full of castration and self-castration, full of audit and self-audit, full of co-op and public security, full of justice Victory, the bad guys will be punishable. When the Hong Kong film quietly becomes a co-production film, it also means that many things will never go back.
Just like Chen Kexin, who filmed "Sweet Honey" and produced "The Death of Spring", will also film "Come to the Name" and oversee "October Besieged City" ten years later. From literary films to light comedies, then to horror thrillers, and finally on the road of domestic blockbusters, and then on the most influential Chinese-language film, the martial arts movie. Chen Kexin has his own artistic pursuit, but the reality of business is before him. He is both a businessman and an artist. How can he realize his artistic value while making money? As a result, we saw different "Love Songs and Dances" and "If·Love"; we saw different "Epic War Masterpieces" and "Zou Ming Zhuang"; today, we saw a different Kung Fu movie, "Wu Xia ".
I can see Chen Kexin's inherent persistence in this movie. Because of his persistence, we have seen in kung fu movies how to use science (even pseudo-science) to explain acupuncture, internal strength, and light gong; because of his persistence, we can see Xu Baijiu’s compassionate life experience; because of his persistence, we We saw the broken arm of Yen Zidan's strong man; because of his persistence, we saw Wang Yu's fierce anger. Yes, these are all because of Chen Kexin's persistence. Otherwise, if purely based on market theory, how many of the young people born in the 1980s know who Wang Yu is?
From the beginning of "Voting the Name", I have always had a strong desire, that is, I hope that Chen Kexin can one day return to the literary romance film he was good at in the UFO era. I have been waiting for his "Waiting" for many years. The lineup of Zhou Yunfa with Maggie Cheung at the time can only be replaced by fantasy; after "Waiting", I suddenly had a question: that is Chen Kexin, you Can I go back? When you have been seeking innovation and change in different types of movies for more than a decade, how will you change the literary and artistic romance that you are best at?
At the end of the article, I thought of clips from two movies again:
First, in "Martial Arts", after the war, Liu Jinxi got up, carried his basket on his back, put on a straw hat, and walked slowly up the mountain. Behind him, he raised a few smoked homes.
The second is in "Half a Cigarette", Zeng Zhiwei played the Xiashan Leopard with Alzheimer's, completely amnesia, he kept painting on the street. Yan Zi, played by Nicholas Tse, came and helped him home.
These are all scenes that move me, and those who know me will understand why I am emotional.
View more about Dragon reviews
