The structure and rhythm of the whole film are not particularly good. It not only wants to express the warmth between father and son, mother and son, and husband and wife in the family, but also wants to take into account the fierceness of action films and police and bandit films, which is a bit careless.
But many parts of the film are actually very interesting to look at, such as the daily feelings between neighbors in Beijing Siheyuan and when an accident occurs, the neighbors turn out to be left out in the blink of an eye.
I think the Beijing part of the film is ingenious (such as the Hunanese-speaking leader of the Public Security Bureau, the death registration form written by Xie Miao in tears after her mother died), while the Hong Kong part is messy and a little rough. I suspect that the Beijing part and the Hong Kong part were shot by different directors, and the Beijing part was probably shot by a local director. Otherwise, it was actually difficult for Hong Kong directors to film in so many places at that time. And the difference in style between the front and rear parts is also obvious.
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