Tsui Hark finally left Tianshan with "Seven Swords" and returned to the rivers and lakes, but as a fan who is not loyal, the mood of watching "Seven Swords" is by no means as simple as happy grievances and blood and rain in rivers and lakes. Tsui Hark's name and his films have become a synonym for martial arts films in the 1980s and 1990s. His films always have a kind of detachment and the artistic conception of a ranger and a high-ranking guest above the rivers and lakes. This made me not focus on the splendid martial arts action and the grandeur of the scenes when I watched Tsui Hark's films, but more to appreciate the unique artistic conception in Tsui Hark's martial arts films.
Starting from "The Legend of Shushan", it was difficult for me to find the feeling in "The Swordsman: The Undefeated in the East" and "New Dragon Inn" from Tsui Hark's films. The chivalrous demeanor in Tsui Hark's film was completely annihilated by the later computer production. And this "Seven Swords" once again established my feeling. The former strange man Tsui Hark is gone, in exchange for the current commercial and secular director Tsui Hark.
Perhaps, it is not Tsui Hark that has changed, but that we always reject any commercial or secular things in movies with a sensitive heart when we watch movies. When watching Zhang Yimou's "Ambush in Ten Miles", I deeply felt that this film is a costume version of "Infernal Affairs", and even regarded Director Zhang's "Miss Anita Mui" on the subtitles as another means of commercial hype. Regardless of whether Director Zhang's intentions are good or not. It is undeniable that Chinese martial arts films have changed their own unique style after they have tasted the sweetness of the international box office, fully catered to the tastes of international audiences, and transformed China's unique martial arts films into WTO-style martial arts films.
I do not deny that I am a relatively traditional person, and I am more willing to delve into the inner core and ideas of movies when watching movies. As a deeply respected audience of Hollywood commercial blockbusters, I have learned to find my soul-level films in the hype of commercial films.
In the economic tide, the audience has become mentally numb to the commercial methods that appear in some movies, and even has a psychology of rejecting doubts. Or, as a director, he is not in pursuit of box office gains, but in keeping with the times. Learn advanced film techniques to keep yourself from falling behind in this commercial tide. Just as an audience, what I want to see is not a movie that is ephemeral right after the hype, but a movie that can shake the heart and spirit.
Tsui Hark is old, and he has not been able to stand up in this business war. His films died within the framework of those stereotyped commercial films.
I don't dare to comment too much on "Seven Swords", because I haven't read Liang Yusheng's original work, so I can't measure how well he reflects this novel from the perspective of the original work. But as someone who hasn't read the original book, I couldn't see what the story was trying to reflect in Tsui Hark's Seven Swords.
Swords and swords, grievances and hatreds, maybe someone can really enjoy the rivers and lakes in it. But in money, business, and the world, how many people can be the same as me?
Suddenly, the song "A Laugh From the Sea" by Huang Zhan flashed in my mind: A laugh in the sea / The surging tides on both sides of the strait / The ups and downs and the waves only remember the present / The sky laughs / There are tides in the world / Whoever loses and who wins / Jiangshan laughs / Misty rain/The distant waves wash away the world, how arrogant the common things are/The people laugh/No longer lonely/The pride is still laughing...
View more about Seven Swords reviews
