There is no doubt that the "A Chinese Ghost Story" series is a Hong Kong film classic in the hearts of many of us. If Tsui Hark can become the master of Chinese martial arts films (perhaps improperly evaluated), "A Chinese Ghost Story" is definitely a heavy weight. After watching "A Chinese Ghost Story", whether it is the naive Ning Caichen, the euphemistic and desolate Nie Xiaoqian, or even Xiao Zhuo, who is soft on the inside and tough on the outside, all of them have left an indelible mark in the hearts of many people. It is undeniable that in the heyday of Hong Kong films in the 1990s, "A Chinese Ghost Story" can be said to be unique, and no matter how many compliments, I am afraid it will become a decoration, and it will be endless for three days and three nights.
However, here, please allow me, a junior with little knowledge and knowledge, to talk about a little personal opinion. If I offend the pure memory of a certain fan, please forgive me and correct me.
Frankly speaking, these three films are mixed in my opinion, the first one is indeed a classic, the second one is not flattering. For the sake of exaggeration, the third part is far from satisfactory, which is mixed, everyone, please listen to me slowly.
"A Chinese Ghost Story" was destined to be a success from the very beginning, because Pu Songling, a poor and rotten scholar full of absurd words, happened to meet Tsui Hark, a Chinese director with Jianghu feelings, and it was his bitter tears. These shredded words and chapters were glued together into a complete "A Chinese Ghost Story", starting from Leslie Cheung's outstanding performance at the beginning, then the story approached its climax step by step, and then ended sadly. "Hey," he burst into tears, soaking any Adidas or Nike sneakers on his feet. The film was a great success, but please note that the success of "A Chinese Ghost Story" is not so much the success of Tsui Hark as it is the success of Pu Songling and "Strange Tales from a Liaozhai". Everyone recalls that, except for the design of the ending, Mr. Xu was eccentric. After some thought and some changes, the whole big frame is almost completely played according to the routine of "Nie Xiaoqian". Of course, we can't deny that Tsui Hark has made the film a lot better in the final changes and some details, but in the end, The success of "A Chinese Ghost Story" can only show that Tsui Hark is a good reader, but it does not mean that he is a good author. He can read the essence of a good story, but he may not be able to make up a good story by himself. He is a bosom friend, not a master.
Therefore, the advent of "The Way of the World" in 1990 undoubtedly proved what I said earlier, separated from "Strange Tales from a Liaozhai" and separated from Pu Songling, the shortcomings of Xu Laogua's team's creative ability immediately appeared. Nonsensical lines to fill the incompetence in creation is really a last resort in desperation. It is still the handsome Leslie Cheung and the flamboyant Wang Zuxian, but the characters of the film themselves have lost their convincing power. Except for the music and relics (Xiao Qian's portrait), Tsui Hark is powerless to work hard on other things, such as the shaping of the characters. In many aspects, such as emotional expression, artistic conception creation, etc., Xu Keduo is poor in skills, so "Human Road" is only a continuation of the plot left in the first part, using the name of Ning Caichen and his memories, and there is another one. The majestic Yan Chixia, apart from that, it's hard to say what is worthy of the words "A Chinese Ghost Story".
After experiencing the bleak operation of "Human Road", Tsui Hark may have realized that his team's ability in creation is not enough. If at this time, like a martial arts novel, a young hero can be born and lead this group of people to advance bravely, It’s better to get away from getting lost, but unfortunately, the film industry is not about writing novels. Genius is not what you want, you can have it. Tsui Hark chose a path that people have to regret, that is to go back to the old routine , so there is "Dao Dao Dao", the mixed ending work.
Looking at the third film in general, it seems to be a copy of the first one. It is also about Lanruo Temple encountering ghosts, people and ghosts falling in love, grandma's timely resurrection, and finally people and ghosts have different paths. Except for the handling of individual emotional colors, the specifics are slightly different. Although the characters' identities and personalities have been partially adjusted, the novel has not been able to get rid of the shadow of "Nie Xiaoqian". The little monk Shifang and the female ghost Xiaozhuo are just another Ning Caichen and Nie Xiaoqian. They have many things in common, such as male The protagonist's integrity and simplicity, and the heroines all have tragic backgrounds. Of course, there are some differences, but it can be said that the character characteristics required by the story have basically not changed, because the story framework has not changed. Tsui Hark chose the most conservative and at the same time. The most secure way to ensure the box office, but also to a certain extent, to ensure word of mouth.
After reading the trilogy in its entirety, please allow me to say something vulgar: Lao Na is both happy and sad. The good thing is that there is or has had a Tsui Hark in Chinese movies after all. He can outline the essence of Pu Songling's story with good brushwork. What's more, if there is another Pu Songling and a good screenwriter in the contemporary era, then maybe we can see more Chinese movies like "A Chinese Ghost Story". The movies of the devils are indeed of a high standard. However, in the world film industry, Chinese-flavored movies began to decline. Tsui Hark used this helpless slow suicide to end the last glimmer of hope. After "Dao Dao Dao", the beautiful girl has passed away and gradually drifted away, perhaps only the only We, the Chinese generation (post-70s and post-80s) know that there is such a kind of Chinese-flavored film, it does exist, but our descendants are unable to pass on this broad and profound culture. Here, How can we not make people feel sad and regretful, now that my brother is no longer here, and my sister Zu Xian has been out of film for many years, when will we be able to see another Chinese-flavored movie comparable to "A Chinese Ghost Story"?
(The technical and cultural problems of these three films will not be described in detail here. After all, these are not the problems of the film itself. Maybe I will share it with you when I feel in the mood in the future)
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