Therefore, the emergence of "Drug War" may alleviate such embarrassment, but it is by no means a panacea once and for all. At best, it is a touchstone with quality assurance. The film basically retains all the elements and video language that To Qifeng loves, not only the various character settings that have been symbolized, but also the extreme display of petty emotions. Because the story space is placed in the mainland, some more localized police and bandit elements are naturally added. It seems that Du SIR has learned the only way from the mainland's police and bandit TV series. And this also indirectly caused a kind of viewing error. Those editing and lens aesthetics that were used in pure Hong Kong-style productions came to "Drug War", but they seemed a bit awkward; and when they were deliberately created in pursuit of realism When the majority of Hong Kong characters had to be spoken in Cantonese, the chasm inevitably emerged. The characters in the film are roughly divided into the mainland and the Galaxy Gang, and the two groups of people are very opposite in the performance state and the rhythm of the dialogue, which can easily make the viewers play.
It's just that To Qifeng's theme and narrative techniques have not changed too much. Soldiers catch thieves, police officers, go undercover, rebel against water, drugs, cover up and calculate, deceive and betray. The classic two-hero confrontation mode is reproduced. The drug dealer played by Gu Tianle has an unusual forbearance and viciousness. He maintains a high degree of calmness and excellent acting talent during most of the film, becoming the development center of the film's context clues; the policeman played by Sun Honglei Capable and wise, with unmatched analytical logic and strong willpower, the collision of characters brought about by this is naturally the most exciting part of To Qifeng's films. The first half is focused on literary dramas, used to explain characters and events. The second half turns sharply into the gunfire time. It can be said that the most violent and cruel melee firearms fighting scenes in To Qifeng's films in recent years have appeared. The blood and darkness have soared. Although it is said that some pictures are still cut out, the image quality presented in the public release version is enough to make people addicted.
It is a pity that the final direction of the film is still caught in a strange circle paradox. Any fans who are familiar with To Qifeng will definitely think that the handling of the ending should develop in the opposite direction. On the road of inlandization, Du Qifeng's attempts have been diligent and clever enough, and the next thing is beyond his control. In fact, everyone understands that only Du SIR who returns to the context of Hong Kong Island can enter the state 100%. In a mainland market that is always lacking and restricting, the taste and delicacy will be diluted to some extent. This state of disassociation and powerlessness is itself a Duchenne film, but the sense of absurdity is stronger.
[Tianya Premiere] "Drug War": Du Sir's gunfire and the paradox of
inlandization http://bbs.tianya.cn/post-filmtv-388189-1.shtml
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