Really, very speechless, at least I am.
If "Ip Man" and "October Siege" are works of great concentration and effort, then "Fighting Forces" can only be regarded as a "libido" blind bloom in the Hong Kong action studio. It sensitively captures the thick and easily congested nerve of "nationalism", once again fanning the fire of unreasonable lust on the waterbed of consumerism with dazzling martial arts moves, hoping to smash the box office. Of course, art has nothing to do with politics. But it is precisely because of this that we are able to watch the fire from the other side, happy to watch the aggressors on the super big screen being beaten like pigs' heads, and we are ruthless and have words in our hearts: I want you to occupy my fertile land and beautiful land! Tell you to bully me children and women! ——It seems that the shame of a hundred years has received the great pleasure of revenge, and he walked out of the theater contentedly and drove home with "Tayuta" decently.
What kind of consumer market and consumer mentality is this?
Hong Kong films are the benchmark for Chinese commercial films—there are historical reasons, and ideological factors are inevitable—in the wave of globalization, it has learned so much from Hollywood that Hollywood screenwriters have turned their heads at the end of their talents. Come to hunt for Hong Kong police and gangster film material. This is undoubtedly a good thing, it shows that foreign devils, like us, also need complementation and communication of inspiration. However, when the mature Hong Kong film encounters the fiery "nationalist" youth impulse, it is like Herbert meets Lolita, desperately heading for an irreversible result. In "Fighting Swordsmanship", Donnie Yen is in charge of acting rough, Huang Qiusheng is in charge of acting cool, Huang Bo is in charge of laughing, Shu Qi is in charge of pretending to be drunk (later wearing an ill-fitting Japanese military uniform and shedding tears), these have rich experience in their respective performance fields. Celebrities with superb acting skills, why are they so illogical and messy when they are grouped together? Literary dramas are pale, and martial arts dramas are rushed. The former has always been the weak and weak point of Hong Kong action films, while the latter, in "Fighting Forces", is more than wonderful and dim. Compared with "Ip Man", which used to be outstanding in both literature and martial arts, how come the latecomers have regressed so poorly?
The "mindless" of commercialism and the "unhappy" of "nationalism" have caused this embarrassment and conflict in our aesthetic psychology. Frankly speaking, it was Huang Yuanshen's "Huo Yuanjia" and Liang Xiaolong's "Chen Zhen" that inspired my initial patriotism and nationalism. Such a kind of warm-blooded enlightenment is an effect that cannot be achieved by any of the most authoritative history textbooks. Why? On the one hand, people at that time were relatively "simple", and on the other hand, "nationalism" was not a gimmick, but melted into the character and choice of each character. Get entertained. The sloppy and hurried plot, the masked performances, the characters that only grow on the skin, and the actions of fighting for the sake of fighting, all made "Fighting Warriors" a complete defeat when facing the ancestors of the same theme.
Business is not a sin, and patriotism is even more commendable. But when it comes to movies, the more commercial it is, the more serious it is to shoot. For the same director who is very commercial and good at funny, the audience would rather only have one "Journey to the West" than ten "More Light Box". Looking at the end, I feel that there will be "two" in "Fighting Swordsman", I just hope that the "two" will not continue.
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