When revisiting "Kill Bill 1", the "SB" that appeared in the opening of the movie aroused my great interest. After consulting some information, I learned about Quentin's Shaw Brothers feelings. The "SB" logo in the film is surrounded by a logo similar to Warner Bros. with an exaggerated curved font next to it. The whole background has a feeling of colored frosted glass. It is like a dream to describe it in four words. It casts a layer of sentiment from an old Hong Kong movie to the movie. For Chinese audiences, the appearance of such a logo naturally has a long-lost affinity, but for foreign audiences, it should be the first time they have seen a logo related to Hong Kong movies. Quentin Tarantino not only carried forward his style to the extreme in his "Kill Bill" series, but also infused his feelings for Hong Kong movies. The white eyebrow leader in "Kill Bill 2" is the starring actor Liu Jiahui in Shaw Brothers' movie "The Thirty-Six Rooms of Shaolin". It can be seen that Shaw's movies have had a lot of influence on Quentin.
As a talented director in the United States, why do you have a soft spot for Shaw Brothers movies? There is also a very interesting story. Quentin and a friend once founded a film distribution company, and because of various reasons, the film distribution company soon died. During this period of time, Quentin came into contact with Shaw Brothers movies. Among the 100 movies, Quentin chose He Menghua’s "The Orangutan King". This movie was once the Chinese version of "King Kong". Let alone the quality of the film. However, the exaggerated acting skills, cheesy special effects and outrageous narrative techniques of the actors fully explain what is called a "B-level film." Such a film officially gave Quentin a strong interest in Shaw Brothers movies. Fans of Ting also learned about Shaw Brothers movies.
Shaw movies is a symbol of the era, but it is not a representative of mainstream film culture, especially in the United States in the 1970s. Shaw movies are considered influential works. When they were popular in the United States, they were mostly found in movie theaters or in immigrant areas. The copy is spread, and the audience is relatively small, half of them are kung fu film lovers, and the other half are some domestic immigrants. Quentin came into contact with Shaw Brothers movies when he was working in the video studio, and this also laid the foundation for Quentin's film style in the future. In many of his films, we can see the charm of Shaw Brothers movies, and he himself admits that he is a loyal fan of Shaw Brothers movies.
Sometimes the stories outside the movies are more interesting, especially Quentin and his China complex. Although the early Shaw Brothers movies were crudely crafted, they were not lacking in classics. Although the conditions for filming in the early years were difficult, the film people’s Good intentions are still moving, and this also makes Shaw Brothers films an irreplaceable role in the history of Hong Kong film. Perhaps Quentin made Shaw Brothers movies out of China and into the world, perhaps, Shaw Brothers movies themselves should go to the world. After reading a few pieces of news, we learned that Weinstein is preparing to re-shoot the Shaw Brothers classic "The Drunk Man" this year, and another Quentin’s favorite Shaw film "The Thirteen Eagles in Cold Blood" has also made related plans. Whether the old-fashioned Chinese and Western kung fu movies can be performed perfectly on the new stage is indeed worth looking forward to.
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