The plot of the film is quite legendary: Stephen Chow (played by Stephen Chow) is a figure in the food industry in Hong Kong. He is sinister and vicious, and he takes all means to maintain his supreme status. Even though he doesn't know how to cook very much ("cooking good dishes, begging for food until old" is his creed), he can occupy the supreme celebrity chef "God of Food" for many years. The bit. While his career is in full swing, his partner, the president of the "Big Happiness" Catering Group (played by Wu Mengda) conspired to ruin his reputation and live on the streets. When this former "God of Cookery" cheated on Temple Street, he was kindly taken in by the food stall owner "Ji Ji" (played by Karen Mok). Since then, Zhou created a famous dish based on his past tasting experience-the glutinous rice dumplings, which became popular all over the city and made a comeback. Finally in the new edition of the God of Cookery Contest, the innovating Steven Zhou realized the true meaning of "food" with his stunts and sincerity, moved God, and thwarted the conspiracy of the president of "Great Happiness". It also won the sincere love of sister Ji.
With the support of a strong concept of human nature, when the film is sensational or funny, it is not vulgar and superficial, but "full of fire". It can be seen from the setting of the characters in the film: the first thing that is unforgettable is their plump and distinctive personality, rather than a comical performance. In shaping the image of this group of peculiar characters, the film adopts the method of "first stand and then break": first blatantly promote their positive images, and then suddenly expose the masks they wear, thereby creating an abrupt hilarious effect, which makes people laugh. Feeling surprised while holding his belly. For example, the God of Cookery who was originally "respected by thousands of people" and "has a benevolent heart" was soon discovered to be a vulgar villain; the pitiful, humble follower Tang Niu was a big conspirator with ill-conceived hearts; he had been in Temple Street when he was twelve years old. In front of her lover, sister Ji is just a charming little girl; the most intriguing is Shaolin martial arts, who was "troubled" by the choreographer and turned into a modern street style of using folding stools...Traditional "myths" are used in modern business. The energy that can be exerted in the social order is just to create a collective mask for the characters in the film; the people under the mask are already modern people. This contradictory setting with a sense of the times was prominently displayed in an interview with the abbot: the abbot said to reporters: "I took him (Zhou) in a compassionate heart." The next scene Here, what we see is the fact that the abbot has acted violently towards the unconscious Steven Zhou, and was frustrated when he failed to succeed. The solemn and broad sentiment of "compassion" was so comically dispelled by personal desires. When the editors organize such jokes, they are also conveying messages such as "people's hearts are not old" and "times have changed".
After the modern pseudo-myths were killed one by one like a flop, the film lived up to expectations and reconstructed the real grand myth—using Stephen Zhou's realization of the true meaning of "eating" as an opportunity, the divinity hidden in him was obtained. Resurgence, the degraded God of Cookery, who suffered 36 calamities and 72 calamities, returned to his throne; the wicked were punished by the spells of Avalokitesvara. Stephen Zhou's tortuous mental journey of "Magic-Man-God" and the fortune-teller Xi Gu's assertion that "the streets are actually full of gods" make this film a wonderful fable for a modern and civilized society.
In this film about business warfare, martial arts, love, the underworld, human nature, cooking, and even immortals (enough to be called the "five flavors and Chen"), the director has played a superb skill in making it a real achievement. The realm of "clearly structured and integrated". The layout of the plot is particularly unique, showing a collage-like effect, and the sequence of time and space is broken up, and it depends on the audience to restore it according to the context of the story. It is worth mentioning that, due to the sufficient clues reserved, this restoration process is relaxed, natural and fun. For example, in the last game of God of Cookery, Steven Zhou, who died of nine deaths, suddenly appeared in ancient costume, giving people a lot of suspense. However, the film is not eager to solve the mystery, but bit by bit in the next schedule. The gradual disclosure is always full of interest. Similar cross-montages are used repeatedly in the film. The past and the present are alternately combined, which not only makes the narrative rhythm flexible and changeable, but also enhances the tension of the narration, creating a nearly complete narration effect.
Regardless of its cultural connotation, profound interpretation of human nature, and perfect application of techniques, the film still has countless remarkable points. Just like the "Roast Goose of Universe" in the film, under the comic tactics of gags, bluffs, bizarre acts, and exaggerated appearances, the inherent universe of the film is hidden: well-placed performances, subtle lines, and gorgeous The pictures, the fluent editing, the unique soundtrack...the classic passages are everywhere, and no one will forget the curious judgment of the God of Cookery with zero points one after another and the night of the fight for the creation of the "Nose urine Niuwan". All of this makes "The God of Cookery" a geek and a leader in entertainment films, "No matter the figure or appearance is one of the first class."
The success of "The God of Cookery" is not accidental. It has something to do with Hong Kong's social form and the highly developed film industry. The special geography and history have given birth to a metropolitan culture with eastern and western characteristics in Hong Kong. This eclectic feature is also eye-catchingly manifested on the screen, making Hong Kong movies valued by the world's film circles for their unique "mixed" taste. In "The God of Cookery", this is also almost consciously reflected: using a computer to test characters, the name of the God of Cookery, the name of the God of Cookery, and his suit and pants. The restaurant hires both Sichuanese and foreigners. The fortune-telling booth... can be said to have grasped the pulse of today's Hong Kong quite accurately.
Moreover, the degree of development of the Hong Kong film industry can also be explained by numbers alone. The annual output of one hundred films is quite astonishing; not to mention that its internationally renowned directors have repeatedly won awards for excellent works. As a film that is qualified to act as a "representative of Hong Kong films," "The God of Cookery" was very popular with Hollywood. If you want to cover all the above-mentioned conditions, it would be more appropriate to use the lines that Xing Ye said in the interview in the film-"Hong Kong is a place of miracles."
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