After watching the movie version after reading the comic version, I feel that the content of revenge is concentrated in the movie, and the content of the comic is far richer and more complicated than the movie.
The hatred in the comics carries the chaotic social background before and after the Meiji Restoration, and repression, as well as the released hatred and catharsis, is a counterattack against this chaos. The comics use a character like Shura Xueji to gain insight into the society of that era and trigger some historical insights. But the movie is just revenge.
Even the revenge model has similarities. When the protagonist takes revenge on the three enemies of the evil girl, the fallen man and the fortune man, the patterns of the evil girl and the fortune man are basically the same. It's all a pattern in which the villain hides behind the scenes at the beginning, the heroine Xu and Wei Snake, and finally kills the enemy when the enemy is not prepared. This is quite different from the original setting.
I still remember the way of revenge for the evil female enemy in the original book, which is the punishment of bankruptcy and ruin. This arrangement is perfect. Sometimes letting a person live in pain, destroying what is most dear to him, can make the enemy more painful than death.
What makes people even more unreasonable is that at the end of the film, a male lover is arranged for the heroine. The male protagonist is still the son of his enemy, and in the end the male protagonist sacrificed himself for the female protagonist. . . In the end, the heroine was also severely injured by the enemy's daughter. . . This is really a bit bloody, even a bit low.
From the plot point of view, this film actually doesn't have much bright spots. What he pays attention to is too simple and pure. He did not reflect the complex and atmospheric spirit and temperament of the original. At the same time, some superficial understandings of the main creator himself were also added. From the perspective of manga change, the level is actually quite mediocre.
But the film's creation and characterization of carnage, bloodshed, and battle scenes are really impressive.
Although the action of martial arts is really incomparable with the contemporary Hong Kong films, but the heroine's will to revenge and decisive battle, and the rendering of the picture, make people feel very in place and full of momentum. The more representative ones are the two scenes of chasing down the fallen man and the prosperous man.
The duel of the fallen men is at the seaside. The momentum of the rough sea shows the heroine's state of mind. It is struggling and very contradictory. On the one hand, he didn't want to kill the person in front of him, and he didn't want to see the tragic fate of the girl who sold herself for her father, and on the other hand, he had to take revenge. His method of killing was also a blunt slash, without chasing or whipping the corpse. This resolute approach actually expressed his heart that he did not have the heart to kill.
The duel between the prosperous men is in the splendid palace, with murals of naked women dancing wildly on the walls, as well as hidden conspiracies and murderous intentions. Downstairs, celebrities are communicating with each other. The main creator may want to create a kind of disdain for the female protagonist to abandon the high-level society, as well as the determination to go forward bravely, the gods to block and kill the gods, and by the way, he also teased some celebrities who are foreign and strong. Corrupted with life.
The heroine was dressed in a blood-stained white kimono, and wielded her sword freely and calmly, which was the perfect presentation of the screen image of Shura Xueji. Simply handsome. . .
Think about the Kill Bill that Quentin once did, except for the location, the heroine's attire (Bruce Lee's yellow dress), and other things, whether it's Liu Yuling's style, or the style of Liu Yuling's horse boy wearing a duck hat and blindfold, Or is it the heroine's revenge mode (some of which have been reformed, and some who have made a fortune against the sky), which is almost the same as that of Shura Xueji, which is called tribute? This is a complete remake. . .
Don't say anything about Quentin's violent aesthetics. One of the origins of Quentin's violent aesthetics is still here in Shura Xueji
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