There are many freehand Hong Kong films, which talk about the East and the West, and the most sincere and moving is the love in them.
In "The Leader of the Demon Sect", men and women are ambitious, chasing the best of the opposite sex[1], wanting to be number one in the world[2], and pure malice that does not involve interests[3], this is the world of young people. Zhang Wuji first tasted the gentleness and warmth of the opposite sex in Xiao Zhao, and he had ambiguous physical contact, so he thought he fell in love with her, until he first saw Zhao Min, who was dazzling...
"Swordsman" is the world of adults, and the love of adults. Linghu Chong and Ren Yingying are like a pair of hard-working couples who have their own careers. Although they are reluctant to give up, especially Ren Yingying, their parting is a calm and rational decision.
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[1] Zhou Zhiruo initially courted Wuji, Zhang Sanfeng's most beloved disciple, and when he learned that he could not practice martial arts, he immediately turned to Song Qingshu, the son of the first warrior of Wudang. Zhang Wuji didn't pay attention to the beautiful Zhou Zhiruo. Although Xiao Zhao and Zhang Wuji were in pairs, Zhao Minfu took away the focus as soon as he appeared on the stage: both the focus of the plot and Zhang's eyes, the former can also be regarded as a metaphor for the latter.
[2] Zhang Wuji's straightforward self-confidence is different from the image of Zhang Wuji in the original novel, and it is also very different from the protagonists of most martial arts films, but it is a very realistic young man's mood.
[3] Zhang Wuji was teased and framed. The motive of the mastermind, Song Qingshu, stemmed from jealousy of Zhang Sanfeng’s preference for Wuji, and he could not obtain real benefits, because Wuji, who could not practice martial arts, could not take over the position of head; Qiu, although it was to please Song Qingshu, also gained cruel pleasure.
I used to watch "The Demon Lord" and thought that [1] and [3] were caused by the brutal scripts characteristic of Hong Kong films. Later, I saw that, whether intentional or not, they actually reflected a kind of youth's arena.
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