Anecdotal rumors are like this: Legend has it that one day, Mr. Tsui Hark invited Brother Wu Yusen to drink a piece of tea, and when he drank it, Mr. Tsui Hark suggested: "Brother Wu, since the "True Color of Heroes" that year, we parted ways and have been apart for a long time. Since then, you and I have been in the film and television industry, and we have been coaxing each other for several years. Although we have forgotten each other's love and hatred, we have never had the opportunity to join forces. The newcomers are like bamboo shoots. You and I will not have much time in the future, and it is not easy to hold hands. Why don't we do it this way, the two of us turn around and take a picture each, the morning light and the evening cloud, reflecting each other's texts. And limited to ancient costumes, as a proposition, tell a story about the contradiction between a man and a woman, what do you think, Brother Wu? Wu Yusen praised the remarks, and added: In order to be in line with reality, the film must also cover the following ten contents as much as possible: Buddha, magic doctor, ghost fire, incarnation, robot cat, male ape, physical disability, genetic mutation, animal protection and food safety. Tsui Hark said yes. So the two used tea as the wine, high-fives as the letter, made an oath, chatted happily, and then had these two films.
When I saw it today, I couldn't help exclaiming: These two extraordinary geniuses are really powerful; even though the proposition and composition can't limit their whimsy, they are worthy of being the masters among the masters, and there is a world of difference than Chen Feng Zhang He ! Next, let me give you a good idea, and share the intricacies that have to be said between the two films.
Both are ancient costumes, but the two chose different backgrounds to structure their own stories. Director Xu Da returned to the Tang Dynasty, and tactfully revealed the secrets of the palace, but there is truth in reality; Director Wu Da made a false history, depicting a bloody rain in all corners of the world. It was said that Wu Meiniang was about to ascend the throne, but was subverted by the old ministers of Li Tang; it was said that the King of Wheels sought a corpse for thousands of miles, only to regenerate Yanggen for the rebirth of the corpse. If the old monster Tsui Hark asked Empress Wu to say that "men's dissatisfaction is all because women do what men should do"; then John Woo used the big S to insinuate that "women's contempt is all because men can't do what men should do." ". Regarding love, Tsui Hark asked Li Bingbing to ask Carina Lau's grandma: Have you ever really loved someone, and John Woo asked Aunt Michelle Yeoh to confess to Zheng Bangzi: Have you ever been sincere to me? This Zen machine is indescribable. As for the top ten contents, the two directors each took nine of them. How did they ingeniously insert them into the plot so that they were seamless? Let’s see:
Regarding the Buddha, Tsui Hark used Tongtian Buddha Tu to Wu Dao’s Rama skeleton, whether it is sixty-six feet high or a person’s length, whether it collapses or is cut off, these two are the core of the whole film; Wang Bohua, the imperial physician of the court, hides the madness of the donkey in the bottom of the ghost market, while Wu Yusen asks the folk master Li Gui to lead the extinction out of the rivers and lakes. Regarding the ghost fire, the old Tang minister Sha Tuo endured the humiliation and carried the burden of humiliation, using the fire of the golden tortoise, and the color opera master connected the rope. Partial body scales, making a knife of flame; about the incarnation technique, Tsui Hark used Tang Yirong to target Wu Daozhi's Korean plastic knife; about the robot cat, Tsui Hark used Pei Donglai's bamboo dragonfly, rock cone, pathfinder ball and Xuanhua hand axe, Wu The director has the fairy rope of the color drama master, the flaming knife and the multicolored cloak; regarding the civil servants, the final boss in the Xu film is the overseer of the Buddha, just like the boss in the Wu film is the eunuch messenger, all low-level civil servants, and the Supreme Judge Di Renjie is frustrated with the heavenly prison Burning the memorial is also the same as Zhang Renfeng's lonely street delivery. Regarding the physical disability, Tsui Hark's boss lost his left hand, and Wu Dao's gang leader has a chicken; regarding genetic mutation, Tsui Hark's Pei Donglai has albino white head, and Wu Dao's Zhang Renfeng's heart and lungs are ectopic; Regarding animal protection and food safety, Tsui Hark sent sika deer and red flaming beetles, and Director Wu let the actors eat noodles and tofu skin...
In the above several points, the two have their own advantages and disadvantages. As for the overall completion of the second director's work, everyone has their own judgments. What I just want to say is: if most of the people in "Empire of Tongtian" were burned to death by nameless internal fires, which is horrible to see; then if those innocent people in "Jianyu Jianghu" knew the deep reason behind it was the wheel-runner king There are no chickens, it will definitely be more embarrassing and lonely. Perhaps because of this, the former made me so tearful, while the latter was so painful. . . . . .
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