Fortunately, after watching "Ip Man", I realized that worrying is completely unnecessary.
The impression that Chinese films leave to the world seems to have only two words "Kung Fu", which can even be turned into simpler explanations, fighting or fighting. After a series of bells and whistles, in the excitement of humming and whistling, he easily defeated his opponent. But for local Chinese audiences, "Kung Fu" is far from simple. It embraces the connotations of the three traditional Chinese cultures of Buddhism, Taoism, and Confucianism, and interprets the unique heritage of Chinese culture in one move. It is precisely under such an all-encompassing cultural rendering that "Kung Fu" has become an ideological impression and cultural imprint of Chinese films and even China in the world.
On top of "Kung Fu", what we pursue is a "chivalrous" culture. The so-called "chivalrous person cares for the country and the people." In an environment where civilization balances social fairness, we rely on our fantasy "chivalry" and the spirit of chivalry to defend the fairness of our inner world, and create a fair world in our hearts through the "chivalry" with kung fu. From the stories of Jing Ke assassinating the Qin king, Zhuan Zhu slaughtering Wang Liao, and Tian Chengsizhi, a robber on the red line, we began to shape the image of our "Xia". After thousands of years of fantasy and accumulation, "Xia" has evolved into a cultural phenomenon. . In our traditional cultural system, "Xia" has become an indispensable cultural component and an outlier within the Chinese cultural tradition.
The most representative example is Tang Li Bai's "Xiaoke Xing" in "Zhao Keman Hu Ying, Wu hookshuang Xueming. The silver saddle shines on the white horse, mad like a shooting star. Killing a person in ten steps will not leave you for a thousand miles. The clothes are gone, and the body and the name are deeply hidden. After leisurely drinking in Xinling, the sword and knees are crossed in front of him. He will eat Zhu Hai and persuade Hou Ying. Rescue Zhao with a golden hammer, and Handan was first shocked. Qianqiu two heroes, Xuanhe Daliangcheng. Even if you die, you will not be ashamed of the world. Who can write your Excellency, the white-headed Taixuan Sutra?" Li used heroic and vigorous poems to give We have sketched the heroic heroes who are vivid and soul-stirring. In this poem, we can read the heroic chivalrous chivalry of many chivalrous people in ancient times, which makes the blood boil.
Therefore, we recognize and pursue the spirit of chivalry, and the culture of chivalry has never declined. This is also why the movies "Once Upon a Time" and "Huo Yuanjia" have endured for a long time, and have been in the same vein in the context of traditional culture. The martial arts novels of Jin Yong and Gu Long are popular in Chinese culture. We need to create such heroes The largest one to meet the needs of our traditional cultural atmosphere.
Therefore, in the category of movies shaping the culture of "Xia" and interpreting Chinese Kung Fu, there will be such as Hu Jinquan's "Chivalrous Girl", "Drunken Man", "Swordsman", Tsui Hark's "New Dragon Inn", "Knife" ", "Once Upon a Time" and other classics, as well as Zhang Yimou's "Hero" and Chen Kaige's "Promise", which were later criticized. The chivalrous culture film has also created movie stars that we admire, from Bruce Lee, Jackie Chan, Yuan Jiaban, Zhou Xingchi to now Donnie Yen.
I met Donnie Yen for the first time, since the old monster Tsui Hark created a new era of Chinese martial arts movies "New Dragon Inn". In this film, Donnie Yen has created the first negative character, which is impressive, with strange owl-like words and loneliness. The style makes people take on a new look, in exchange for unanimous praise. Afterwards, the hero image of "Huang Feihong" was created in "Iron Horse Liu" directed by Yuan Heping, but this Huang Feihong was slightly different from Jet Li's Huang Feihong, and many were inferior. Afterwards, Donnie Yen has acted in a series of action films, but he has always been fighting for a fight, just staying at the level of an action actor, and has not risen to the realm of chivalrous culture. On the contrary, some of his negative roles are more impressive. For example, in the "Once Upon a Time of Self-improvement" starring Jet Li, the part against Jet Li makes people feel that Donnie Yen's kung fu is not inferior at all.
But we know that it is very difficult for a good actor, whether in drama or action, to rise to a new level without encountering a director called "confidant", a suitable script role, and a good movie. . Donnie Yen's actions in "Dragon and Tiger Fight", "Slaying the Wolf", and "Fuse" in recent years are all known for their sternness and sturdiness. The moving style is full of fighting spirit and killing. Although most of the characters are positive characters, it seems that his fighting style determines There is a consciousness that everyone does not seem to agree with, that is, even if it is in justice, it seems that it is difficult to arouse the audience's recognition and resonance with the pure realistic fighting style of violent suppression. Since then, Donnie Yen has been in a very embarrassing position. The style of his actions is appreciated, but the roles he plays are unimpressive. It seems that those characters that are purely designed to fight cannot conform to our cultural elements. Insider's request. And Donnie Yen in "The Beauty of the Country" and "Painted Skin" is really disappointing. He has completely reduced to an actor who exists only for fighting. Even I think it makes no difference if someone else plays the role.
So, the voice of criticism, one after another. There was an uproar when Donnie Yen only had kung fu and no acting skills. But looking back, let's think about it, isn't that aspect of the character in "New Dragon Inn" still fresh in our memory? Since Donnie Yen can create such a living villain, at least it shows that he has potential and can be stimulated, but he has not found the point of collision.
Fortunately, the so-called meeting of the wind and clouds, the advent of "Ip Man" has swept away the haze of Donnie Yen.
The reason why "Ip Man" won the whole house is not only the wonderful Wing Chun boxing in his fights, the realistic style of the fighting scenes, and the action scenes of hard bridges and hard horses. But in this film, we once again appreciate our long-lost chivalrous culture.
The reason why Ye Wen became a master of a generation is not just the vastness and inheritance of Wing Chun, but the dignified and righteous spirit of the nation when the Japanese invaders invaded China. The courage of Mei Lanfang's beard and refusal to sing is essentially the same, and it is a portrayal of the national spirit and solar terms under the influence of traditional culture.
Ip Man created by Donnie Yen has risen from a simple action to the realm of a chivalrous man. His behavior, language and actions all cover the implicit and restrained style of Chinese culture. For example, when sparring with boxers of various factions, he is basically in a passive contest, never taking the initiative to challenge each other. After defeating the opponent, he still answered politely. He never made a public appearance or opened a hall with apprentices. Even under the provocation of Kaishan, he is still calm, and it can be seen that the masters of the generation have profound skills in regulating Qi and smoothing the breath. He never makes ruthless or deadly moves to his opponents, and he can take care of his opponent's feelings even when the odds are in hand. In the development of details and stories, it shows us an image of Ye Wen with a refined temperament.
However, as the Japanese invaders invaded China and the people were struggling to survive, Ye Wen, who was content with the world, was forced to be involved in the contest with the Japanese due to reality. Then, the subsequent development of the plot shows Ye Wen's strong bones and national righteousness as a Chinese. Facing all the changes calmly, knowing that he might be shot to death in the win, he resolutely took action without hesitation, and used Wing Chun to vindicate himself and the nation. At this moment, Ye Wen, under the elegant appearance, is a determined heart, the so-called quiet like a virgin, moving like a rabbit, the inner world changes with the external environment, and when it is unbearable, he is right himself.
Honestly speaking, the plot design of "Ip Man" is very general. The development of the plot is too smooth, there is no ups and downs, and there is no proud righteous indignation and blood gushing. But Donnie Yen's introverted, peaceful and upright style, the speed and strength of the fight, the restrained and soothing dialogue, these series of shaping make the plain plot a little more exciting. It is precisely because of Donnie Yen's excellent performance that "Ip Man" has won both box office and evaluation.
In this way, Donnie Yen has finally risen to a new level with the beginning of "Ip Man". This means that, following Bruce Lee, Jackie Chan, and Jet Li, the history of Hong Kong action films will be deeply imprinted with Donnie Yen's style, and will surely create an era of action movies that belongs to Donnie Yen.
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