The fighting scenes are indeed realistic and exciting. Many of Liang Yusheng’s novels reflect the "anti-thief" career of the green forest hero, and he has a clear class consciousness of resisting tyranny. Those rivers and lakes grievances and martial arts disputes have become appendages, but it is precisely because of this that his novels have Stronger realism. Since it is the cruel reality of class struggle, where will there be any point-to-finish master contest, everywhere are the killing moves. Fighting is an implicit statement, and killing is the true mission of the sword. Although the seven-handed swords have not had time to distinguish the beauty of them, they can also be seen in their different styles, suggesting the fate of their respective characters. Such metaphorical arrangements have always been appreciated by me. Of course, due to time constraints, it is unlikely to expand one by one, so the impression is not very deep.
Compared with large-scale martial arts, literary drama is relatively thin. Yang Yuncong’s grievances with Tiandihui, Chu Zhaonan’s feelings with Luzhu, and the entanglement between the fire and the fire and Luzhu can all be greatly exaggerated. Unfortunately, the plot develops too fast, and many causes and consequences are not explained clearly. The psychological activities of the characters He didn't carry out an in-depth description, so he couldn't accumulate anger or lingering emotions in his heart. In my imagination, Fu Qingzhu should be an elegant scholar image. Even if he is old, he should not change his elegant temperament. In this film, he has become a capable little old man, just as shameless as everyone else. Yang Yuncong still likes his appearance very much, he is the typical Confucian character of both civil and military in Liang Yusheng's novels. Chu Zhaonan was the coolest swordsman, so gloomy and unfathomable, he estimated that deterioration was an inevitable fate. Fenghuo Liancheng is a complete murderous maniac. What's terrible is that he is very clear-headed, calm and undisturbed when he is in trouble, and he can still speak a few philosophies of life from time to time. He should be the character who has the deepest excavation in this film. However, there are many great monsters in Liang Yusheng's novels, but such psychopathic characters are rare. I am not optimistic about those passionate scenes either, I always feel that there is a subtle beauty that is lost in the original works.
In general, the watchability of the film is good, but it is still far from the perfect martial arts film I imagined. I still appreciate the dreamlike atmosphere of the rivers and lakes in "Eastern Unbeaten". Although the plot is also tampering with the original, its spiritual core is very consistent with the elegant sentiment described by Jin Yong in my impression. The martial arts novels are adults. Fairy tale. Of course, the realistic style should also be a great way out for martial arts. Liang Yusheng’s novels give people the impression of realism. In terms of spiritual temperament, the film should be faithful to the original, unlike the previous "The White Haired Witch". That shot was gloomy and weird. Although the film is not satisfactory in terms of a single film, as a part of the series, it is obviously full of suspense and has made a good start for the next few films.
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