Zhang Yimou's artistic technique is the same as that of fine art. That kind of storyline is not crowded, and the background of the screen does not change continuously, which can be called a kind of "monotonous". Therefore, Zhang Yimou's martial arts movies are not always praised or even endorsed by most people. The popular martial arts movie culture relies on Jin Yong's martial arts story as the script, the plot is turbulent, and the characters cannot be allowed to walk in bamboo forests, grasslands, and deserts for a short period of time to express their emotional spirit. There is another reason why Zhang Yimou's martial arts can not satisfy the public, that is, the martial arts cannot be "beautiful". It can be "wumei" but not "wenmei". We can see that even if a "martial arts movie" like Wong Kar-wai's "Evil East and West Drugs", which only has a fake shell and is almost indifferent to martial arts, it still inherits the methods of traditional martial arts and new martial arts movies in dealing with martial arts actions. I personally think that martial arts in martial arts movies are secondary, but they must be handled meticulously, with beautiful movements and smooth rhythms. Otherwise, only the empty shell of a martial arts movie will be left; expressing modern emotions in this way will only make people feel nondescript, nauseous and nauseous.
Ang Lee's "Crouching Tiger, Hidden Dragon" is a classic. The fighting in him will move you, and the horse-riding pursuit in him will also move you. Ang Lee's "horse riding" relies on a deep storyline, while Zhang Yimou's "horse riding" is just riding a horse, using "riding horses" to express the beauty of the picture itself. Perhaps Zhang Yimou's artistic level is higher, but "Hero" and "Ambush on Ten Sides" mostly seem to be imitations of "Crouching Tiger, Hidden Dragon". This seems to have a fatal weakness, which makes people unable to produce an "unprecedented" shock. ... ....
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