In fact, the film's performance on every visual level is impeccable. These include the creation of the overall atmosphere, the design of single-handed combat, the scheduling of the group battle scene, and even the composition of the screen mirrors, all of which show Tsui Hark's outstanding martial arts film aesthetics.
The overall atmosphere of the film is gloomy and gloomy. In addition to the use of gray and plain tones, the costumes, props and even the main scenes of the actors fully implement this tone. In addition, it is imperative to mention the super-standard soundtrack of the movie, which is a very important element in rendering the gloomy and gloomy atmosphere of the whole film, in addition to showing the majestic aura of war clouds during the war.
However, when all technical levels are carefully and closely embodying the complete and unified gloomy tone, the Cantonese dubbed version mixed with vulgar colloquialism and even English (as far as I can remember is "I checked it") broke the atmosphere of Thai half in one fell swoop.
Then there is the design of martial arts sword fighting under the banner of martial arts. This part is led by Liu Jialiang, who also acts as one of the seven swords, Mo Wen Jian Chuan Qingzhu. The design style of its martial arts is different from the Yuan-style slow-motion aesthetic martial arts that audiences have seen a little tired of in recent years, but it is a more realistic and complex trick that is dizzying. This is in line with the simple tone of the film. The multi-angle slow-motion replay does not play tricks and embroiders legs and does not disturb exaggerated multi-angle slow-motion replay. Secondly, it also reproduces the long-lost old martial arts style of martial arts films. In this generation who do not understand nostalgia, it is a Fresh setting. The author's most profound scene is the final battle between Longjian Chu Zhaonan and Feng Huo Liancheng. The two fight among the high walls and narrow alleys. Compared with other martial arts scenes in the whole film, they are particularly unique and show the special skills of Hong Kong-style martial arts. The style of sparring in special environments such as a single tree, the edge of a high-rise building, or a dangerous building that hangs for a long time.
It's just that good-looking doesn't mean good-looking. The dazzling and complex tricks are presented at a high density in the film of more than 150 minutes. No matter how good it looks, it will be boring. Especially the scenes of the martial arts scene are very short, and the editing movements are so frequent that it is difficult to follow, even in the sword. It may not be possible to understand who is stabbing and who is being stabbed. In addition, the seven swords with different attributes at the heart of the film may not be able to highlight their own characteristics and applications during combat. Except for Yang Caini's "Flying Waterfall Sword", which is clearly inked, the other six swords are intangible, which makes the movie worthy of the title of "Seven Swords Down the Tianshan Mountains".
As for the scene scheduling and storyboard composition of the group battle, I believe there is no need for the author to say more, the audience can see it. In this link, the finished product presented by the boss and his photographer has the ability to compete with the Hollywood A-level production. Unexpectedly, this film restores the basic steps, and abandons the computer stunts, but still can use the live-action "Seven Swords" to shoot the breathtaking style that Hollywood has built with a virtual army of thousands of horses. I think this is due to Tsui Hark and his photographers, who abandoned the wide-angle lens that prefers to show big scenes in Hollywood Daduotou production, and instead used the "Seven Swords" focus on the follow-up shooting, accompanied by super-class soundtrack and picture composition, together Condensed to create a tension to replace or even surpass the Hollywood style of "simple visual display of momentum".
Overall, the aesthetics of "Seven Swords" are in a class of their own. The tailor-made costumes, props and scenes in the film are ingeniously matched with the external natural environment, so that the aesthetic tone of the entire film realistically reflects the beauty of Chinese landscapes. This, along with "Hero" and "House of Flying Daggers", which are purely kitsch, can better highlight the aesthetics of Chinese culture since ancient times.
In the end, the author has to point out the fatal flaw behind the visual success of "Seven Swords" - the script - what went wrong.
First of all, this film is adapted from "Seven Swords Down the Tianshan Mountains", and Tsui Hark revised the film's title to "Seven Swords", which unexpectedly reminds people that this film will be the story of seven swords. It is a pity that the effect of the more than 150 minutes of the movie handed over is to make the audience who deliberately read the story of these seven swords almost lost their way. The ultimate reason lies in the unbalanced trade-offs in the adaptation of the plot. The movie spends a lot of space writing about the relationships between the characters in Wuzhuang, about the emotional entanglements of the seven swordsmen, and about the sequels of other chapters, such as Hua Zhao and Wang Minde's prince, etc. These are indeed wonderful subplots of the original work, but they are not as important to the core value of the film "Seven Swords" as they are in the novel. What the author finds the most uncomfortable is the relationship between Chu Zhaonan and Luzhu and the episode of the traitor in Wuzhuang. I foolishly think that the former's description is full of ink, but the meaning is still unclear. It slows down the progress and cannot closely follow the theme of the seven-handed sword. It should be omitted. Although the latter is related to the follow-up plot that everyone will hide in the cave, only the author has a comprehensive view. The whole film always believes that the plot of the ostrich is the most dull and uninteresting, and the key character in the middle, that is, the front of the traitor, is not deeply inked, and the suspense of who the traitor is will not help the martial arts of this film. It is strange, so it is a clever move to think that it is a clever move to make a big move to increase the overall sense of fluency.
In fact, in the final analysis, the author, like most audiences, thinks that the film has too little depiction of the core values of the different attributes of "Seven Swords", as well as the background characters and respective sword skills of the seven swordsmen. Tsui Hark's calculation would rather take the lesser but more popular and entertaining emotional lines and suspenseful suspense and abandon the series of seven swords that are more difficult to express in images but are the center of gravity. Undoubtedly, the pattern and plot of the film are "quantitative". "Increase, but this kind of superficial dabbling has lowered the overall connotation of the film by a notch, making it difficult to become a classic.
In general, the super-standard performance of "Seven Swords" at the visual level proves that Tsui Hark's attempt at an epic martial arts masterpiece has successfully reached the international first-class level. . Although it is rumored that this time is only the first episode of "Seven Swords", it is understandable that the plot is not complete, it is just laid out, the focus of the film - Seven Swords - can not be deviated after all, and unfortunately this "Seven Swords" does make People are less able to focus.
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