When we talk about Hong Kong martial arts movies, kung fu movies are always an inescapable genre.
"Once Upon a Time" in Hong Kong Kung Fu movies can be said to be a signboard. Everyone is more familiar with the "Once Upon a Time" series, but in fact the character of Huang Feihong is also an important milestone in the rise of Hong Kong kung fu films.
In 1949, the famous director Hu Peng directed the film "Once Upon a Time, The Whip and the Candle", which became a big hit in Hong Kong. Since then, Wong Fei-hung has become a golden sign of Hong Kong kung fu films. And after this golden signboard was erected, of course, it would not be easy to give up this golden mountain. In the following ten years, nearly 80 episodes of Huang Feihong series directed by Hu Peng and starring Guan Dexing were filmed. This can be said to be a Hong Kong kung fu film. Unparalleled commercial success story in history.
"Once Upon a Time in Huang Feihong"
However, the action design of Hong Kong kung fu movies at that time was obviously like a joke. If you look at the kung fu movies at that time, you can see that kind of clumsy texture, and you will be beaten if you lift your leg casually, which is not professional at all.
The real professional martial arts instructor is in "Yunhai Yu Gongyuan". The martial arts instructor of the film is Liu Jialiang, a well-known martial arts master in Hong Kong. Under his guidance, a large number of Shaw Brothers classic films such as "Fang Shiyu", "Shaolin 36 Rooms" and "He's Bad" were released. The martial arts in these films are all real knives and real guns. Rivers of blood.
The famous kung fu film director Zhang Che filmed "One-Armed Swordsman", and the whole action scene was very bloody. It is said that the tomato juice used to make fake blood on the set where Zhang Che filmed the movie can fill two full gasoline barrels. His style also inspired John Woo's "violence aesthetics" .
"One-Armed Knife"
And this kind of violence that can be seen everywhere has been better inherited and developed after the rise of Tsui Hark's generation of directors after the 1980s.
It was Bruce Lee who really made kung fu films flourish overseas. He left four complete film works - "Tangshan Big Brother", "Jingwumen", "Raptor Crossing the River", "Dragon Tiger Fight", almost every one Released in the United States and achieved box office success. Most of these film works have an obvious violent aesthetic style of real swords and real guns. Since then, the violent features of real knives, real guns, punches and flesh have become the aesthetic basis of Chinese kung fu films.
Bruce Lee
Well-known martial arts instructor Yuan Heping is a signboard of Hong Kong kung fu films after the 1980s. He is not only well-known in Hong Kong, but also has a large number of excellent works in Hollywood. He has collaborated with well-known Hollywood directors such as Quentin and the Wachowski sisters. His works include "Kill Bill 1-2" and "The Matrix". His "Snake" also inspired Stephen Chow's "Kung Fu", etc. The film can be said to be the first Chinese martial arts instructor.
And Chen Hu, the star of the upcoming co-production "Three Threats: Transnational Rescue", which will be released on March 29, is the disciple of the master Yuan Heping. His martial arts style is in the same vein as that of Master Yuan Heping, which is a combination of rigidity and softness.
The action scenes of "Three Threats: Across the Rescue" are generally in the style of an old Hong Kong action movie, and the whole fighting action is smooth and smooth. And they all use real knives and real guns. Chen Hu and Tony Jia are both well-known professional action actors.
Not only that, the film also combines the shooting style of Hong Kong's 1990s smash hit genre in the shooting scenes.
The opening scene is a shootout with a hail of bullets, and the entire paragraph is neat and tidy. From marching to advancing, to the astonishing reversal of the prologue paragraphs, all in one go.
Especially in the violent display of the gunfight scene, it creates a violent beauty of bullets and blood splashing, bloody rain, and the scene is hanging in the sky. The whole scene is a blast! fry! ! fry! ! !
Behind the dense explosions is a tribute to the glorious 90s of Hong Kong movies.
In October last year, when Chow Yun-fat picked up his guns again and starred in "Unparalleled", we all exclaimed: The golden age of Hong Kong films is back! And this "Triple Threat: Transnational Rescue" once again shows us that the aftermath of the Hong Kong movie's high-gloss era has not yet subsided.
There are several shootout scenes in it, and it can be said that the scheduling is very good.
A scene in which the gangsters collectively attack the police station can be said to be the biggest highlight in the scheduling of the entire shootout. The three male protagonists fight gangsters in the same building, and the director appropriately uses parallel editing and cross-narratives to handle the average scene between the three. The smooth rhythm of the whole scene is amazing, the director's scheduling ability.
"Unparalleled" is a typical two-hero mode, and "Triple Threat: Transnational Rescue" is a three-man play.
Chen Hu and Tony Jia play a pair of mercenaries who have to cooperate with an assault team for humanitarian rescue. But they didn't expect that what they rescued was Collins, a criminal who had done many evils, and was almost killed by the criminals.
The escaped two decide to take revenge, and at the same time, Zaka finds them. His wife was also killed in the battle, so the three decided to take revenge on the evil organization.
The daughter of a wealthy Chinese businessman, Tian Xiaoxian, who promoted a charity project in Mahazaya, violated the interests of the local gangster and was hunted down by gangsters, and it was Collins who was chasing her. Three men and one woman decide to act together to fight criminal organizations.
The scenes of the three men in the film are all very exciting. It can be said that it is a very exciting "Three Heroes" play, and this "Three Heroes" mode is a tribute to the Japanese master Akira Kurosawa.
As we all know, Akira Kurosawa can be said to be the spiritual mentor of Hong Kong in the 1990s, especially Johnnie To and his image of the Milky Way, who were very popular in the 1990s, and he is also an obvious fan of Akira Kurosawa. His "Judo Dragon and Tiger List" simply remakes Akira Kurosawa's "Zi Sanshiro", and pays tribute to Akira Kurosawa by name at the end of the film.
In "Three Threats: Transnational Rescue", we can clearly see the obvious marks of John To and John Woo. In addition to the obvious "three heroes" mode, there is also the rhythm of the movie.
"Judo Dragon and Tiger List"
After the 1980s, a group of directors such as John Woo and Tsui Hark began to cooperate with Hollywood. After their films "The True Color of Heroes", "The Swordsman of Shushan" and "Once Upon a Time" were introduced to Hollywood, they were combined with Hollywood's American culture. , the "three-stage" narrative mode of traditional Hollywood action films was born .
First of all, there must be a wonderful confrontation between good and evil. Secondly, the plot has to go through the three major stages of high tide, low tide and counterattack. Such a model is not satisfactory in Hollywood. Classic action films such as "Hurricane Rescue" and "Breaking the Dead Island" were born one after another.
"Breaking the Dead Island"
Hollywood's tribute to Hong Kong movies is reflected in all aspects. The shadow of Hong Kong movies can be seen in "Mission: Impossible", 007 series and other films, and even the best Oscar film "Infernal Affairs" is adapted from "Infernal Affairs" three. part.
And "Triple Threat: Transnational Rescue" follows the classic three-paragraph narrative of Hollywood, so of course you can see the shadow of the classic Hong Kong Golden Age movies in the 1980s.
The whole style of "Triple Threat: Transnational Rescue" follows the narrative style of Hong Kong kung fu films, golden age classics and Hollywood genre films. The overall feeling is very explosive, but it is different from the foreign version. The film hit theaters on March 29, which reminds us of the half-century-long golden age of Hong Kong cinema, which can only be felt on the screen now.
(The picture in the text comes from the Internet)
Author of Sharp Shadow Vanguard | Zhi Yuan Jun
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