Junior Brother is one of the early films of Yuen Biao and Jackie Chan. They are still very young and all their movements and expressions are very awkward and active. They can't help but sigh that there are many stages in the long life, and each stage can shape a completely different self. Looking back at the movies made by Jackie Chan and Yuen Biao at the age of 40 or 50, an old and steady aura came to my face. The plot of the younger brother's running is compact, clear in context, and completely nested up and down. Although it seems to be a very simple requirement, many movies nowadays can't do this. The whole movie will say a little bit and say a little bit and don't know what it said. The screenwriter is miserable. The plot of the younger brother's horse makes all the action scenes and funny elements play reasonable and reasonable. Jackie Chan's play of dressing up an old man in a skirt is even more classic. Yuen Biao's bench, Shi Jian's knife and chopping, Jackie Chan's get what to use, what to fight Hearty and dripping is very exciting. I was wondering how they designed the action to be so funny and coherent. Perhaps there are still a lot of lessons to be learned today, as long as we take a closer look at it. The Kung Fu comedy movies of that period were inseparable from such a routine, which was a simple story line, with many twists and turns in the middle, which seemed to be ordinary details, but when they were plumped up, the bones were propped up. For example, Jackie Chan was looking for water to drink, but he ran into the catcher who was waiting to catch him. He was caught by the catchers of the five provinces. He wanted to take a pee to escape, but he ran into the swamp. It’s ridiculous that Jackie Chan didn’t know that he was the one who was waiting for him. He started a series of dramatic plots. Coincidentally, all the characters he encountered were related to the person who arrested him. This is very skillful. It seems that the plot method of the whole movie is very worthy of study. How to make a set of hilarious and non-noisy movies, these screenwriting skills are necessary.
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