Although the lines are plain and the plot lacks twists and turns, "Ye Wen" can also see our blood and tears. Why? Because the director's little hand touched our G-spot appropriately-nationalism (or patriotism, the two overlap in a certain latitude and longitude). The first half of "Ip Man" is also wonderful. The first part of the film is a battle with Master Liao of Taishantang, and the small climax appears in the battle between Ye Wen and Shandong Dahan Jinshan. The fierceness of the northern boxing and the ingenuity of the southern boxing collide together. , Wiping out dazzling sparks, it can be described as brilliant. But the film really entered a state that could affect the mood of the audience after the Japanese invasion. Before that, even if Master Liao hid the needles in Mianli, and Jinshan searched for another life, we actually all knew that on the site of Foshan, Ye Wen could undoubtedly turn everything into a light and breezy. After the Japanese invaders attacked, the benefits of guns and cannons far outweighed the merits of fists and feet, and no matter how good the skill was, it became a source of water. In a one-on-one situation, Ye Wen can naturally unload Li Zhao's revolver while talking and laughing, but is he capable of facing the entire army? Helplessness, destitution, poverty, hunger, life or death... all struck together. The death of Wu Chilin, Master Liao's death, and Jin Shan's pressing step by step pushed this depressed mood to a climax. How can the audience's gloomy mood vent? Only by beating the Japanese general Miura at the end of the film can he let off his hatred. Beating Miura is psychologically equivalent to beating all the Japanese invaders. Even if we all know that after Ye Wen fled, the people in Foshan will face even more brutal and inhumane hunts and massacres. Regrettably, the battle between Ye Wen and Miura was purely a psychological vent. The final finale of the two was not a match at all: I don’t know what kind of consideration the director arranged for Miura’s combat effectiveness to be almost equal to that of Jinshan. One level-Ye Wen could still sweep the fallen leaves in the autumn wind after a few hunger strikes, and instantly beat Miura to death. It is also a Sino-Japanese duel. If it is wonderful, how can "Ip Man" compare with the last duel between Chen Zhen and Japanese officers in "Jing Wu Hero"? If the era background of the martial arts film is in ancient times, it can naturally be wild and arbitrary ("Oriental Unbeaten" and "New Dragon Inn"); if it is in the modern era, the choices are more diverse. You can gag (Jackie Chan) or play hard (" "Slay the Wolf" and "Legend of the Wolf Warrior"). The most embarrassing thing is the kung fu film in the modern background. There is only the main theme of resisting external humiliation in the cracks-and the tragic modern history of China is doomed. The personal victory against foreign warriors can only be a Q-style spiritual victory. The movie culminates and draws down the curtain in the fallen silhouettes of vicious foreign warriors. It is a bit like "If I win you, why don't I lose the world". The climax of "Ip Man" is the defeat of the Japanese warrior, and the climax of "The Hero of the Fist" is also the defeat of the Japanese samurai. , Achieved the most glorious page in life. It is undeniable that nationalism in action movies is a good card. The audience can not only see beautiful fighting scenes, but also get psychological satisfaction. But leaving aside whether nationalism is good or bad, I won’t discuss it for the time being. My doubt is: Is there no other way to shoot apart from beating foreigners? Tsui Hark puts the background of the fifth episode of Huang Feihong's series "Western Lions" in the western United States. The dismal box office and reputation seem to prove that rash innovation is dangerous. However, the first few films of Huang Feihong's series also did not fall into the gimmick of "beating foreigners", which proves that as long as the screenwriter is willing to work hard, even if the selection of action films in the modern background is relatively narrow, it is not impossible to play. It's a pity that I don't know if there are no good screenwriters now, or the screenwriters are reluctant to contribute... Tsui Hark puts the background of the fifth episode of Huang Feihong's series "Western Lions" in the western United States. The dismal box office and reputation seem to prove that rash innovation is dangerous. However, the first few films of Huang Feihong's series also did not fall into the gimmick of "beating foreigners", which proves that as long as the screenwriter is willing to work hard, even if the selection of action films in the modern background is relatively narrow, it is not impossible to play. It's a pity that I don't know if there are no good screenwriters now, or the screenwriters are reluctant to contribute... Tsui Hark puts the background of the fifth episode of Huang Feihong's series "Western Lions" in the western United States. The dismal box office and reputation seem to prove that rash innovation is dangerous. However, the first few films of Huang Feihong's series also did not fall into the gimmick of "beating foreigners", which proves that as long as the screenwriter is willing to work hard, even if the selection of action films in the modern background is relatively narrow, it is not impossible to play. Unfortunately, I don’t know if there are no good screenwriters now, or the screenwriters are reluctant to contribute...
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