The movie lasts for two and a half hours. Although I can't say that I have frequent orgasms, I am at least fascinated by it. I didn't go to the toilet halfway through, but I watched it a few times. It was too addictive for fear that it would end too soon. After the movie was finished, the subtitles were played, and people around me left the room one after another. I insisted on waiting until the screen went blank before leaving. It was a small tribute. When I walked out of the theater, I wanted to watch the 4-hour director’s cut version in my heart, and I started to look forward to the sequel-the latter was not easy for me. I also admire Stephen Chow’s "Kung Fu", but I think the sequel to "Kung Fu" is burnt. Qin Zhuhe's idea. The second part of "Seven Swords" came out, but I didn't say anything, so I went to the theater to support it first.
In recent years, there is only one Chinese film that has made me feel excited and bloody. The movie is good because it is full of vitality, not in the details, but it has reached a high level on the whole. Tsui Hark’s previous movies were either elegant and unpredictable, or mysterious and vague, or unrestrained. In short, they were graceful and graceful. Even though they were heroic, they were sad and evasive in their bones. But this time there was a big opening. The so-called epee has no edge, and the skill is not working. It really made the epic temperament that is rarely seen in Hong Kong movies. Seven swords appeared on the scene, annihilating a squadron, which is the most glamorous part of the whole movie. The masters exposing the bottom of the box are dazzling, and the blood is rushing into the forehead, and there is a faint feeling of cold sweat. --This is the most intuitive feeling of seeing a good film.
What is the chivalry like in history? The previous martial arts consumer products gave us such a concept: fluttering in white clothes, raging horses in fresh clothes, holding flutes and swords, wandering the rivers and lakes-this coincides with the imagination and interest of the public adolescence. But in "Seven Swords", we see that the knights have to eat and drink Lazar, farm the fields, and keep the grains; the knights can also be worn in tatters, just like the farmer who just finished the field; it turns out that the knights are talking about love. There are physical needs in addition to love, and from time to time I hug a piece of "hey hey"; it turns out that a knight can be naive and impulsive, he can close his eyes to kill, and he can be unpredictable and unsparing. It is very possible that Tsui Hark restored It is the image of a real "man" in history. This is a reckless innovation. And the cool comments that Tsui Hark provokes after he came to power this time again proves the consequences of challenging the taste of the public.
On the one hand, Liu Jialiang's action design seems to be the ultimate in realism, on the other hand, Lin An'er's editing deliberately does not follow common sense, and the combination of actions is dazzling, all to match the artistic conception of the film itself. Yen Zidan's own kung fu can be called a wandering dragon, but in this movie it makes people look vague, because Tsui Hark doesn't want the martial arts to steal too much limelight-otherwise he would be making kung fu movies, not martial arts movies. However, Zhen is a skilled person after all. There are master skills in every gesture. With his flying hair, sharp eyes, and lonely temperament, Chu Zhaonan has become the most glamorous character in this movie.
Tsui Hark's ambition is to create an epic film that communicates between heaven and human. It is both a subversion and a summary of the previous martial arts genre film mode. From this we can see the shining points that are outside the main line of the plot: the seven heroes watch the sunrise, the sun is shining, this is a tacit declaration of life and death; the old Malay Fu’s reluctance to the master reflects that The inevitable choice in the process of growing up; the accent of southern accents shows that these characters come from all corners of the world, and they are more atmospheric; even a few passionate scenes, seemingly abrupt, are also meant to be in it: the passion of the chivalrous spirit, high-spirited and unyielding , Often comes with sexual awakening. This may be my over-interpretation, but I believe that the rich ambiguity of "Seven Swords" may not be fully understood after reading it.
Of course, the movie itself is by no means perfect. First of all, there are problems with the script. The structure and editing are all messy. For example, in such a masculine movie, there is no need to insert too many things about love, and the scenes about Zhang Jingchu can be almost completely deleted. Perhaps Tsui Hark is afraid that if there are only a few big battles in the movie, the plot will appear thin. Considering that the Manchu seat can not be without MSG, so abruptly stretched the scene of the cave to eliminate the rape. This is not worth the loss. Actors’ performances are also too hot. If you remove those nasty laughs, Sun Honglei’s performances are passable. Unfortunately, Mr. Sun may have played too many soap operas. He always likes to add some seasonings to the characters. It looks abnormal and a little bit more profound. So holding his throat pretending to be treacherous, it really embarrassed him. Zhang Jingchu also seemed too arrogant. Judging from her current performances in "The Peacock" and "Seven Swords", this woman is a bold and unrestrained woman with strong personality needs. If the opportunity is good, such a girl can be unimpeded in the Chinese film scene. . The identities of Chu Zhaonan and Lvzhu in "Seven Swords" were designed to be Koreans, which is also a compromise made by Tsui Hark in consideration of the commercial consequences. Otherwise, you can make your home everywhere, why bother transnational? There is also the music played by Kenji Kawai. Objectively speaking, it is already very good. It can be regarded as the icing on the cake, but the feeling of the plot is still not "sticky". After all, it is missing the magical touch of Uncle Zhan.
However, small flaws do not hide big alcohol. Everything that Tsui Hark does in this movie is for the lingering "chivalrous spirit". Obtaining the meaning but forgetting the appearance, even though the plot of the movie has absurdities and omissions, the "god" of martial arts captured by Tsui Hark is still worthy of the gratitude of every audience who likes martial arts movies. Considering that today’s domestic films seem to be blooming and blooming, in fact, we are facing a difficult dilemma. For a film with sincerity and ideas, what we hold should not be the ridiculous attitude of the bones in the egg, but the patience. , Understanding and support. Therefore, no matter how much it is said, it is better to go to the theater to watch the film and make a little contribution to its box office. I think this may be the affirmation that Tsui Hark most needs right now.
2005·8·1
View more about Seven Swords reviews
