First is the scene. Compared with Tsui Hark in "The Legend of Shushan Swordsman", Tsui Hark is so lucky now that he can shoot on the ground in the mainland without restrictions. All the scenes, buildings, and costumes have made great efforts, and they are seriously touching. Unlike Ang Lee and Zhang Yimou, who finds a bamboo forest and shoots wildly, who doesn't know that the bamboo forest is neat and tidy? Not even cleaning.
The picture is also very delicate, I trust Tsui Hark's taste very much, because our taste is cultivated by him. Anyone who says that Tsui Hark has no character now, I consider him to be ungrateful.
I also like the action. When I was a child, I was influenced by "The Life-threatening Gold of Clear Water and Cold Mountain", and I liked this kind of realism, which saw blood and fists to the flesh. In the last PK between Feng Huo Liancheng and Chu Zhaonan, Wu Zhi Xiong Xinxin personally went into battle for Sun Honglei, showing the style of Guizu Qi.
In terms of the plot, I don't think there is anything unclear about the explanation (because many people on the Internet are swearing at this point, I don't know what they think?) Each character in the Seven Swords has a meaning. For example, Chu Zhaonan is justice and The unity of evil, Yang Yuncong is about the relationship between self and group, Wu Yuanying is about growth, Han Zhibang is about the power of nature, Fu Qingzhu is about guilt and redemption and so on. No matter how literary the dialogue is, it won't be as idiotic as "House of Flying Daggers".
In martial arts movies, Tsui Hark is still a bully. Li An's fault is to underestimate it, and Zhang Yimou's fault is to make it big. The act of being a chivalrous person is more accidental than strategic. Sitting in a retreat every day to formulate a schedule for the next month is megalomaniac, and chivalrous behavior often occurs in the movement of knights. That's why seven top swordsmen protect the people of a village to escape. They don't think "the world is so big, can it be protected by you?" Just forgetting each other in the rivers and lakes, this is a question that does not need to be thought about.
Tsui Hark's thinking about "Jianghu is a place" continues. The problem that first appeared in "Swordsman" was uttered by Yang Yuncong this time. In addition, many of the entanglements in the film are borrowed from the classic western film "High Noon", which is about the plot of knights who protect people but are suspected and excluded by people. There is also the plot of the storm rushing to the green beads who only care about stuffing food in their mouths, which is also copied from a Swedish movie. Hong Kong directors have always been heavily influenced by the West, and this is also a good example.
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