Action movies worldwide (including martial arts kungfu) can basically be divided into two categories, one emphasizes the skills of the actors themselves, and the other emphasizes the skills of movies. That is to say, I have forgotten the two directions I have looked at before, Chaplin and Griffith, although they are not completely appropriate in general, they can also explain some problems.
Well, let’s look at the United States first. Of course, the Americans took the latter route, because their actions are relatively clumsy. The action stars are all muscular men. They have no fighting skills, let alone attractive moves, such as Stallone and Schwarzenegger.. .... Um... Generally speaking, the American action movies are quite ugly, without aesthetics, and stupid. In fact, the degree of violence is soso, but their strength is the film skills, not only use it. The good military fingers in Asia are even more engaged in high technology (The Matrix). The actors who play this kind of film can make high-energy moves with only a short training. Of course, this is a relatively low example. The more powerful film technique cases come from editing, and this is even more Griffith. The most representative is the Bourne Shadow Heavy Series, which removes a few tenths of a second of editing. Damon’s movements are fast, accurate and ruthless, which of course enhances the shock and realism of the action scenes.
Compared with the United States, Asia generally emphasizes the former route, that is, the skills and hardware facilities of the actors themselves. This can be seen first from the use of lens language. When summarizing the case of long shots, I found that in both gunfights and actions, only Asia dared to use long shots. The United States categorically did not dare to use long shots in this situation. There were no such reliable actors and rehearsals. The arm is also not working.
The long shots of the gunfight scene have [Hot Hand God Detective] in front of the [Big Event], and the action scenes in Thailand have [Tom Yum Goong] in Korea and [Old Boy], all of which add a wonderful touch to the material library that can be shot by the long lens. . The long shots require the talents of scheduling and acting, which can distinguish the American and Asian tendencies.
Specific to Asia itself, they are also different. Japan’s better samurai movies are film-technical schools, because the samurai fighting is done with one or a few tricks, mainly because of the tension before the sword, so it must be a good filming. It's very cinematic, and it's done with cinematic techniques. Masaki Kobayashi's [Death Sword] is a typical representative. South Korea actually learns from the left and learns from the right, so I won't talk about it. The Thai style obviously takes the route of physical skills, because the film itself is relatively low, and Muay Thai is also very developed, there are great talents, why not do it, the film is very low, but the awesome action stars are indeed very good. It's tough, and it's the hardware conditions that can complete those difficult moves.
The situation in Hong Kong is even more complicated. Bruce Lee is obviously a school of physical skills that cannot be surpassed and cannot be copied. Some fighting scenes can be fixed with a panoramic view (of course, there are also many cuts). Just this way, people can see it, because it is true. He is too good at playing and has a personal charm. The subsequent action films were basically divided into the Northern School and the Southern School, Yuan Heping from the Northern School, and Liu Jialiang from the Southern School. Basically, it can be summarized as the Northern School taking the route of fisting and embroidering the legs. In fact, it is a drama action. . Needless to say, Liu Jialiang is what Yuan Heping trained is Jackie Chan. His moves are better than practical, and he has more poses. Of course, Jackie Chan always practiced himself to prove that he is more real and can endure hardship. When Liu Jialiang served as Zhang Che’s martial arts finger, the situation has changed a bit. Because people like Dillon Jiang and David can’t make quick successes in a short time, the selling point is actually not the action itself. The selling point is the blood-stained white shirts...this. ..... Then Chu Yuan's is actually far away from the action, and the hits are super ugly, and the fiddling is over. And then, Master Hu Jinquan, wow, of course it is a film technique school, all kinds of god editing, celebrities are relatively weak, the story is relatively weak, but the sense of film is the strongest.
After that, Tsui Hark was a film technique school, and Ang Lee (a Chinese-language film range) was also a film technique school, winning with a strong style. It is the combination of Yen Zidan and Ye Weixin that really makes Hong Kong action films out of the box and embroidered legs. In fact, the story is like that, but it is really good. The mixed martial art of free fighting + Muay Thai + Brazilian Jiu-Jitsu is really an original invention of others, and then the authenticity is greatly enhanced, and the fus of punching to the flesh are coming out. This is not explained, of course. The editing of the Ip Man series has also been greatly enhanced.
Okay, it's over.
[Assault] It's simply not relying on either side.
At the story level, not to mention, it is not only weak, but in fact it is not. At the very least, [Tom Yum Goong] has a "look for elephant" (Khan). In terms of film skills, the lens is not too weak, but it does not really promote the action, it does not create a specific action style, the scheduling of the space is not considered, and the new fight is not seen.
In terms of physical skills, there is neither the dazzling fascination of embroidering legs, nor the cool and handsome of high-tech, the strong local style of Muay Thai, nor the originality of mixed fighting, and there is no Jeet Kune Do’s only fast, accurate and ruthless. A single fight scene is actually a soso feeling, but piled together is more exciting.
So just from the point of view of the good-looking action movies, there is no need to watch [Surprise]. There are more movies with much better action than it!
So where is the difference in [Raid], it’s killing like a game, regardless of why it’s a killing, then it’s not just a machine gun sweep, and there’s a bit of technology. For example, I don’t need a gun, come and fight You are one-on-one, and you come one-on-two. It's like a new game. It's more difficult to play. You need to manipulate the protagonist to use high-powered tricks. This film is entirely to stimulate adrenaline. The violent scenes caused by many actions are densely piled up, and then rendered cruel, all kinds of cutting throats, all kinds of strange methods of death, a plastic tube is inserted in the neck, and all kinds of beatings and so on. Kind of, I have to admit that these are done very well, more real, and the rhythm is good, so that you can adapt to watching and watching, and the aesthetic fatigue is basically the same as killing people and killing mosquitoes....this.. .... It's all kinds of cults at all! If you just look at this, it's really good-looking, don't be an action movie, it's particularly good-looking, it has no connection with the plot at all, and it adds a strong touch to the sense of cult! The less the plot, the more cult...
To sum it up, one is dense and the other is brutal...this...
Then why is it impossible to surpass Hong Kong or even Thailand? It is because they are not in the same system. Action movies are called action movies. The plot can be slightly weaker, but it is by no means unavailable. The physical skills of outstanding action stars are the only ones that cannot be copied. They are effective no matter what time they arrive, and they cannot be outdated. No matter how high technology develops, the highly difficult actions performed by real performances must have audiences, realism and awesomeness. The forced body will always be seen. In addition, the reason why a movie is a movie is that it has its own unique skills and techniques. If you can't perform awesome, and be creative through invention and creation, you will surely be able to shoot cool actions with a cinematic feel. Hong Kong can do both of the above. Movies like Ip Man’s story is on a decent basis, with both cool and flamboyant and real kung fu to the flesh, rich and complex action designs, various scenes, various spaces, and various forms. The exquisite lens design and editing, there is nothing to do, is it N times better than this! That's it!
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