When I watched "Pole Tracking" 5 years ago, Tielan and Asano's cross-border life-and-death relationship made me uncomfortable. Watching "The City That Never Sleeps" 3 years ago, Liu Jianyi, a lost Chinese-Japanese hybrid, was melancholy when Bai Xueluo fell. Watching "Shinjuku Incident" tonight, Iron Head's national idealism is disillusioned in the cruel reality of post-capitalist society.
The movie clips that are linked in my mind, and the life I experience in Japan today, feel like the essential difference between two-dimensional and three-dimensional. Reality is just a dull knife, cutting it so that people don't notice it, but it hurts faintly. There will never be the intense pain and despair when Ajie broke his hand.
Movies can condense and deepen pain, but reality is just a collection of pain, bit by bit, not so scary or so beautiful, just just right to make you sad.
I was told not to watch these kinds of films in a foreign country, but so what. As a woman, she likes gangster Cult films + discussion of identity issues, which is really self-inflicted. Perhaps there is a natural ability to connect knowledge, and I like to make some analogous comparisons. Hong Kong films spanned 30 years, the same themes, but very different manifestations. If you think about it, it's actually quite interesting.
Then let me try to compare and contrast:
In 1989, Xu Anhua - "Pole Tracking": "A Glimpse Like First Love"
Starring: Andy Lau, Zhong Chuhong, Ishida Junichi
The first film in the history of Chinese-language films focuses on the living conditions of the Chinese in Japan The realistic film, the female director's unique combination of rigidity and softness, the profound skills of combining virtual and real, neutral perspective and humanistic feelings, interprets a wonderful and soul-stirring action film that is dynamic and still, fantasy and real, cruel reality and Romantic love and hatred complement each other, making people think about their own life and future journey when they are embarrassed.
In the early 1990s, Andy Lau, who had just taken office, Zhong Chuhong, who was about to retire, and Junichi Ishida, who was in the limelight, were a near-perfect collaboration.
In 1998, Li Zhiyi - "The City That Never Sleeps": "A Mirage Built From Space"
Starring: Takeshi Kaneshiro, Miku Yamamoto, Zhou Haimei
It can be regarded as a Hong Kong production that truly grasps the essence of Japanese aesthetics. Li Zhiyi's cross-cultural grafting ability amazes me. Of course, thanks to the script consultant and art director for the credit. The tone of romance to the end makes the killing look like a dance, the gang rush seems more than cool and lacks confidence, Yang Weimin's old hotness lacks deep reflection, and the integration of the plot needs to be improved. But as a poetic film that is more like the Legend of Legendary Heroes, we may not be demanding the effect of a realistic film, and we should regard it as a performance in a dream world. From an aesthetic point of view, it will be a wonderful time to appreciate the exquisite pictures. Visual enjoyment.
Zeng Zhiwei's terrifying Shanghai dialect really blew me away, and it was comparable to his equally jaw-dropping Japanese in "Tokyo Trial". Fortunately, the reverse string is not too much, Cui Hu, the authentic Beijing man, finally saved the point. As soon as Zhou Haimei appeared on the stage, she was accused by my classmates of being at least forty years old and her Mandarin was terrible. Of course, the flaws may be the film's strengths. On the contrary, the successful transformation of Takeshi Kaneshiro and the excellent performance of Yamamoto in the future made me not have much impression. But handsome guys are handsome, that's a fact.
In 2009, Er Dongsheng - "Shinjuku Incident": "Sword Condensed in a Cold Night"
Starring: Jackie Chan, Wu Yanzu, Xu Jinglei, Kato Masaya, Fan Bingbing
and ignores whether the film has epoch-making significance in the history of Hong Kong films, if it has to be To describe the film in one word, I think it should be "killing". This time, Er Dongsheng is determined to go black to the end, revealing the reality and uncovering the scars thoroughly and mercilessly, without giving the audience any respite. Such movies will always remind me of Akira Kurosawa. Just like Tietou's sharp knife to cut off the leader of the Tainan Gang, the whole plot is concise and deep, and there are not too many grandstanding gimmicks. Director Er seems to like small incisions and great wisdom, but the heat seems to be lacking, and there is a small lack of shock.
Wu Yanzu basically continued the excellent performance of the degenerate and tragic in "New Police Story", and Gao Jie made me excited again. The old drama is not covered, and the viciousness and viciousness exuded all over the body makes people shudder. Who would have thought that he was in The gentle and calm interpretation in "Flowers on the Sea". The protagonist is quite satisfactory, the question is what is the reason for choosing Jackie Chan? International box office? I haven't seen him fight well, except for a knife and a stab, he just runs wildly. I really don't recommend people who are running 6 to play a young man, it's very uncomfortable to watch. Fan Bingbing's performance is good, and Lin Xue's Mandarin is also available.
After the comparison, it seems that I still buy Xu Anhua the most. Of course, "Shinjuku Incident" gave me a good night. In Osaka these days, I have seen Chinese and Korean men working hard on the construction site. I really don't know if there are still such black households in this day and age. Just want to say that everything is money to blame, high profile or low profile, it is sad to say that it all ends up in this thing.
What can man do? Support yourself with fantasies? To numb yourself with reality? Or to wander between the two, to be a painful sober?
There's not much I can say, but I know what I'm like. We are a group of conditioned creatures, all we need to do is create better conditions and do better reflexes.
In Japan, in the United States, and all over the world, the Chinese are still Chinese wherever they go. This identity is a fact that flows in the blood, whether it is good or bad, it is more beyond the scope of self-examination. Where is the identity lost? But lost in the illusion of self. In the eyes of outsiders, we may always be the same and never change. Just as they are in our eyes, ten years are like one day.
Only by focusing on survival itself, can we appreciate the essential problems that all human beings are facing. A sense of absurdity also arises from this. Movies, all they can do, are just showing a corner for people to spy on.
View more about Shinjuku Incident reviews
