The time can be specific to the winter of 1989, which month and day can no longer be remembered. The weather was cold, and there was a stove in the house. After dinner, my dad and I watched the videotape of Police Story. This tape is different from the usual one, because it is not a feature film when it comes up, but a person sitting in front of the camera talking. I remember he was wearing a light yellow jacket or shirt, sitting in a chair very relaxed and saying hello to the audience. He introduced himself, and was very happy that everyone could watch his movie, and also said how the original movie was and how this movie was. The main reason is that he was seriously injured and almost died at the time of the filming. The media and public opinion circles were very concerned, so he is here to say hello to everyone and tell everyone that he has recovered. Thank you for your concern. At the time I thought this guy's name was weird. He said thank you for everyone's concern, how about the previous movies, how about the current movies, is he a very famous person? The only remaining image in my mind was the shot of him sliding down the pole from the top of the top floor in the mall. There were no takeoffs and landings, only he was crashing down through the shining lights. I don't know how many people have seen the videotape of "Police Story" in the opening title. If they have seen it, they still have no impression. Where can I find the video file for this readme now? Looking at it again this time, I am seriously checking it. In the staff list, it is stated that Jackie Chan and Deng Jingsheng are screenwriters. Then I judge their division of labor. It is estimated that the general context of the story, as well as some trivia and impromptu lines, were provided by Jackie Chan, and Deng Jingsheng did the writing, arrangement and design of specific lines. The story itself is simple, but the structure and logic of the various events are very rigorous. From the account of the event to the design of the lines, the story is believable. For example, the conflict between police officer Wen and Chen Jiaju. Halfway through the development of the story, Officer Wen revealed that he was a character who used power for personal gain, law enforcement, and illegal collusion with drug lords. But at the beginning of the film, he privately ordered his colleagues on duty to go up the mountain to help. From a common sense, there is nothing wrong with this, but it is rather extreme to ask all colleagues to help. However, compared to Chen Jiaju, this kind of excess is nothing. Conversely, in the scuffle with Shalena, Chen Jiaju did startle the snake because of Shalena's scream, causing corresponding riots. If Officer Wen was a man of justice, it would be normal for him and Chen Jiaju to condemn each other in front of their superiors. It can be said that the police officer Wen's line is very hidden and can definitely deceive the audience's eyes and ears. And because of the friction between him and Chen Jiaju, it increases the authenticity of social interpersonal relationships, and it is also well prepared for the police officer Wen to reveal his identity later in the story. There are also various sentiments that are persuasive The absoluteness of the situation cannot make Chen Jiaju turn back, he can only go out of his way to catch the criminals. Among them, there is a sense of justice, but more of it is to avenge himself. On the surface, this film fully expresses personal heroism, but in fact Chen Jiaju was driven to a dead end and had to sink his boat. In the end, it was almost vicious, and he was removed from the hero lineup at once. What came out was just an ordinary person with resentment and justice. A good story really doesn't depend on the simplicity or complexity of the plot, but only on the authenticity. To say the plot is simple, this is in favor of Jackie Chan, or in favor of action films. Action movies will encounter this problem, because the action scenes take up a lot of space, and the length of the corresponding story will be greatly reduced. But audiences won't be satisfied with films that fight for fight's sake, and martial arts for martial arts's sake. To make a simple story appealing, it must be rigorous and not superficial. Many of Chen Jiaju's lines have a vigilant meaning, and it can also be said that those lines are very didactic and dogmatic. I don't know if these lines were improvised by Jackie Chan or designed by Deng Jingsheng. In any case, these lines are not uncomfortable at all in the plot, and they are also very happy to express the voice of the audience. It is not difficult to come up with a little bit of lines and plots. The difficulty is how to integrate them, how to find a spiritual direction for them, and how to speak naturally and smoothly. Deng Jingsheng is a good screenwriter! He can also understand and achieve Jackie Chan's requirements and intentions. In his script, a lot of humor comes from the lines themselves, not just Jackie Chan's funny and humorous actions. For example, in this film, after the operation, Police Officer Zhou taught Chen Jiaju before the director did not enter the door: No matter what the director said, you just need to answer (this is not my own credit, it is all due to the careful planning of the superiors) This sentence If so, he must be elated. ——However, when this line was said in front of the director, it became the meaning of condemning the director, and the director could not help but attack. However, when this line was uttered by Chen Jiaju for the first time, the meaning was to use the superior's intention to condemn the colleague, Police Officer Wen, and to complain for himself. This line appeared twice in less than three minutes before and after, but it has three meanings. In the end, the atmosphere of the scene was very tense because of this line, but the audience received it, and the more it was heard, the more funny it became. sense of humor. In a similar situation, the director and the police officer Zhou stood in their own positions to argue right and wrong in the face of Chen Jiaju's evidence of the crime. Police Officer Zhou said that he should talk about a bit of human touch, but the director said that he should handle the case according to the law. Now is not the era of Bao Qingtian, and everything must be evidenced. Officer Zhou couldn't be more angry when he heard it. But when Chen Jiaju took the initiative to When the police office made his confession, Officer Zhou, who had tried his best to defend him before, said the phrase, "This is not the era of Bao Qingtian, and evidence must be presented in everything." For the audience, the atmosphere is instantly lively. This shows that Officer Zhou actually understands the truth of evidence in everything. Behind his back, he protects Chen Jiaju, but when he sees Chen Jiaju, he condemns him. Officer Zhou cherished Chen Jiaju very much in his heart, but his appearance was relatively strict and indifferent. Correspondingly, the Director is not like this. A few lines can show the multi-faceted character of the characters, not only the characters are full, but the story is also full. Furthermore, the screenwriter emphasized contrast several times. When I watched it as a child, the opening of the story gave me a different feeling, because many Hong Kong films at that time did not describe it that way. At that time I just felt, but now I understand that Deng Jingsheng's technique is very clever. In the action at the beginning of the film, a large part is devoted to the role of Tang Zhenye, a policeman whose body is bound by fear. Until now, it is rare to see an incompetent supporting role in the opening paragraph. If it is not handled well, or if the protagonist does not perform well in the later plots, the film will lose the whole game. This film is different, using Tang Zhenye's character to contrast Chen Jiaju. It is not one who is greedy for life and fears death, one who is heroic and invincible. Rather, they are all facing fear, fearing that their lives are in danger. But there are subtle things in human nature that are worth writing about. Before being afraid, Chen Jiaju can force himself to be calm and deal with the gangsters resolutely and tenaciously. He is not a heartless robot, but one of ordinary people, but his willpower is very strong. Without Tang Zhenye's character, Chen Jiaju's character introduction part at the beginning would not have been completely portrayed. Although there are very thrilling scenes at the beginning of the story, as well as Jackie Chan's difficult stunts, the plot does not simply show the scenes and stunts, but depicts and introduces the characters within the scope of the text. Another strong contrast is that Chen Jiaju is standing on the flyover waiting for the drug lord to appear. He is desperate and firm. Chen Jiaju's girlfriend Amei's performance on the side is the opposite. Amei asked Chen Jiaju to eat, but when he refused to eat, Amei asked herself if she could eat it. Chen Jiaju nodded firmly but slightly. ——Ami is hungry, which means she has spent at least four hours with Chen Jiaju. The most important thing is to use Ami to reflect the hatred that makes Chen Jiaju feel free and fearless. With such a good script, it is worth the effort. But I don't know, after the first volunteering performance, although he was immediately praised by Luo Wei, Senior Brother Hong, and Bruce Lee, it was worth Jackie Chan's joy, but did he ever think that he would embark on a road of no return? In 1985, he didn't become famous for a long time, but his dangerous stunts became more and more extreme. Looking at this film, I feel that the films of the same period such as "Dragon's Heart" and "Fu Xing Gao Zhao" are very bland in the action scenes, as if they were made out of slapstick. But those films are not enough, it can only be said that "Police Story" is too radical. After a lapse of 24 years, looking at the stunts in this film still makes people feel uneasy and frightened. He will become a unique, and the more the times develop, the less he will be copied and imitated. Because no one can copy, and no one dares to follow, there is no need to follow. His uniqueness is time-framed. I won't say anything about those stunts. But what convinced me the most was not his courage to fall from a height, but the fact that he had to get up and run out of the camera after he fell. If you want to live or die, you can tell it in one breath, but completing the shooting task is not something that can be solved with a desperate fall. Falling down, getting up, running out, it's amazing enough. Because he's too dazzling, too dazzling, he was classified as an action star. I used to think so too, but not now. He is an excellent director. If he only has tenacity but not cleverness, and if he is stupid and desperate, at most he will be praised for his courage. But when he was trying his best to move forward in parallel with the creation itself, he was very surprised that he had the courage not to give himself a way out. If a dangerous action slips out of his life, wouldn't he be wiped out? If you are a director, you can also bring reputation, and the right amount of stunts can be regarded as a two-pronged strategy. But he didn't. Although I admire his courage, I still regret that he is not a full-time director. For the audience, this is a big loss. It is really cute to see in the footage, the way he directed Ruoding seriously and devoted himself when he was working as a director. Judging from his gestures when directing actors, he places great emphasis on the rhythm and rhythm of the movements. This concept is implemented in every link. Not to mention those who fell and beat, and said some small things. Although it is a small place, his intentions are very clear. 1. King Kongzui attacked Shalena at night, just for a show. When the situation was almost the same, Chen Jiaju asked him to withdraw. Unexpectedly, Shalena smashed a vase on King Kongzui's head and fainted. Not long after that, I smashed the flower pot again. Chen Jiaju wanted King Kongzui to leave, so he said he was not dizzy. It made Shalena want to smash it a third time. Chen Jiaju knows to smash it again She had to die, so she stopped Shalena. To be on the safe side, Shalena insisted on smashing it and waved her hand down. Seeing that the situation was not good, Chen Jiaju reached out and caught the heavy object in Shalena's hand. Chen Jiaju's gesture of catching a heavy object is very similar to the lying fish in Peking Opera. This action also appeared in the costume drama starring Jackie Chan in the early years. Used here, obviously he wanted the characters to have a dynamic beauty and some humor. Because Brigitte Lin's waving and smashing and Jackie Chan's smashing of heavy objects were completed in a continuous and successive handover, we took the position where Brigitte Lin waved and smashed the scene, and this shot could be shot. There was nothing wrong with it. But Jackie Chan handled their actions separately. This is obviously the director's intention, because the editor only has content to edit if there are two aspects of shooting. If the director did not intend to, he would not deliberately shoot the scene of Chen Jiaju receiving heavy objects again. 2. Out of fear, Shalena had to go to Chen Jiaju's house. Unexpectedly, Chen Jiaju's girlfriend was there. Because of a misunderstanding, his girlfriend left angrily. Chen Jiaju was very angry on the surface, but when the doorbell rang, he jumped out of the back room, thinking that it was his girlfriend who was very happy when he came back. It just jumped out, with a lively and naughty rhythm. This is also the effect that Jackie Chan particularly emphasized. Afterwards, Chen Jiaju complained, and asked Shalena if she would eat cake, but the other party would not eat it, and then asked if she would drink something. The other party said willow juice, but Chen Jiaju said he took it. When he said he took it, he swung the towel in his hand. In fact, this action is particularly life-like, but it is the effect after being refined here. The Cantonese dubbing does not fit this action a bit, and the effect of the Mandarin dubbing and this action is particularly interesting. 3. Then Chen Jiaju walked out of the bathroom with a towel after taking a shower, while talking to Shalena. The content of the Mandarin dubbing is "Say nice things to her, stop dreaming, if I were willing to say nice things to girls, dozens of beauties would have been delivered to my door long ago, and she would still be able to get her?" The Cantonese dubbing is slightly different, but the meaning is the same. Whether it is Chen Jiaju's movements, the distribution of lines, and the background music, they are all in a rhythm. Very light, very happy. Especially when Chen Jiaju walked into the bedroom, stuck his head out and said, "Is it my turn to get her?" It was very effective. In addition, it is also very, very important that Jackie Chan gradually established a brand-new action film shooting system in his undivided efforts to create, and "Police Story" is the iconic work of this system. As a result, Chinese kung fu action movies quickly became popular all over the world. Whether you are Chinese or foreigners, whether you know martial arts or not, you can make very similar action movies. For example, "The Matrix", "Crooked Kid Scott Against the World" and so on. The importance of this film is also gradually realized by Jackie Chan later. This shooting system is particularly in line with the principle of film shooting, which is operable and easy to quantify. The concept is all-encompassing, from camera placement, to editing, to motion design. It is no longer the old way of relying only on martial artists to work hard, rigid photography and editing. That is to say, Jackie Chan used this shooting system to spread the weight of the martial artist, making the shooting and editing very weighty. Take, for example, those action movies before Jackie Chan. When the protagonist is fighting against several people at the same time, at most two people will fight against the protagonist, while the rest of the people are idle in the background of the screen, which looks very strange. Since the protagonist is to be put to death, why are those few people watching from the side, and the protagonist must knock down the opponent in front of them before they go up, which makes no sense either emotionally or logically. Moreover, this picture is not good-looking, and it is not tense, which is contrary to the original intention of the action film. Jackie Chan's approach is to divide the actors out of the camera first, and there will be no idle action actors except the protagonist and opponents in the picture. Due to the adequate action design, the opponents entered the screen in turn to fight against the protagonist. This not only solves the problem of idle actors, but also makes the picture look more impactful and immersive. And so on, this concept extends to every action shot, giving the concept of action film a whole new look. (See the plot of "Police Story" from 1 hour 31 minutes 20 seconds to 56 seconds) However, this shooting system ultimately emphasizes the level of editing and action design. If these two items are not strong enough, there will only be an empty system left with no vitality. The problem is that this cannot be quantified, it depends on personal qualifications. Obviously, whether it is action design or editing ability, Jackie Chan is at the top level. He is a well-deserved leader in the industry. His achievements also lie in the fact that he is a film creator, not just an action star. From the integrity of the story, to the intention of the shooting, he is in good control. There are some things that are not good. For example, at the beginning of the story, too little is explained about the situation at the scene of the incident. The first is the location and internal structure of the dwelling, and the second is the time. It's not that he didn't explain it, but the explanation was too sloppy. The location of the police's temporary command center is also unclear. There is a small problem with the editing. When the plot developed to about 1 hour and 32 minutes, Chen Jiaju was fighting with Zhu Danni. There is a section of action that is repeated, just from a different angle. It should be said that the editing should cut off the excess, so that it appears repeatedly, and it is not for any special effect, so it should not be. Unless Jackie Chan intends to prolong the fighting time at the moment, in order to be full of rhythm. To say that there is still a shortage, it may be an additional requirement. It would be even better if the framing and editing of the scene could provide some inspiration. The films he directed are a little too realistic, a little straight, a lot sharp, and a lot of sense of presence. During this period, he made movies with a team, and many of his brothers wore the most common green rubber-soled white sneakers. I remember having a pair when I was a kid, it was very common. I always think that the living conditions in Hong Kong are good, and besides, they are all stunt performers, so they should be more protected, but they are nothing, such ordinary white sneakers. Perhaps because the white sneakers are the lightest fit, they are always a bit rustic visually. Besides, why do good people and bad people wear the same shoes? One action was shot twice, and the actor in the picture actually changed his shoes. Not long ago, Lu Yu, who watched Wu Zhenyu, had an appointment. He said in it that no director can become a good actor. Oops, this is too extreme. Aren't good directors like Chaplin or Buster Keaton good actors? Putting it on Jackie Chan, it may be said the other way around, he can also be a good director as an actor. But I actually don't know how to judge whether he is a good actor or a good director first. As far as his illiteracy is concerned, apart from watching the works of his predecessors, it is impossible to read theoretical books. So when did he get enlightened? I'm curious! Chen Jiaju is more suitable for him than Jackie Chan. I like a line from Chen Jiaju very much: "You think you can dance if you are a person, so come and see it!?" It fits the role and fits him more. During this period, he made movies with a team, and many of his brothers wore the most common green rubber-soled white sneakers. I remember having a pair when I was a kid, it was very common. I always think that the living conditions in Hong Kong are good, and besides, they are all stunt performers, so they should be more protected, but they are nothing, such ordinary white sneakers. Perhaps because the white sneakers are the lightest fit, they are always a bit rustic visually. Besides, why do good people and bad people wear the same shoes? One action was shot twice, and the actor in the picture actually changed his shoes. Not long ago, Lu Yu, who watched Wu Zhenyu, had an appointment. He said in it that no director can become a good actor. Oops, this is too extreme. Aren't good directors like Chaplin or Buster Keaton good actors? Putting it on Jackie Chan, it may be said the other way around, he can also be a good director as an actor. But I actually don't know how to judge whether he is a good actor or a good director first. As far as his illiteracy is concerned, apart from watching the works of his predecessors, it is impossible to read theoretical books. So when did he get enlightened? I'm curious! Chen Jiaju is more suitable for him than Jackie Chan. I like a line from Chen Jiaju very much: "You think you can dance if you are a person, so come and see it!?" It fits the role and fits him more. During this period, he made movies with a team, and many of his brothers wore the most common green rubber-soled white sneakers. I remember having a pair when I was a kid, it was very common. I always think that the living conditions in Hong Kong are good, and besides, they are all stunt performers, so they should be more protected, but they are nothing, such ordinary white sneakers. Perhaps because the white sneakers are the lightest fit, they are always a bit rustic visually. Besides, why do good people and bad people wear the same shoes? One action was shot twice, and the actor in the picture actually changed his shoes. Not long ago, Lu Yu, who watched Wu Zhenyu, had an appointment. He said in it that no director can become a good actor. Oops, this is too extreme. Aren't good directors like Chaplin or Buster Keaton good actors? Putting it on Jackie Chan, it may be said the other way around, he can also be a good director as an actor. But I actually don't know how to judge whether he is a good actor or a good director first. As far as his illiteracy is concerned, apart from watching the works of his predecessors, it is impossible to read theoretical books. So when did he get enlightened? I'm curious! Chen Jiaju is more suitable for him than Jackie Chan. I like a line from Chen Jiaju very much: "You think you can dance if you are a person, so come and see it!?" It fits the role and fits him more.
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