After experiencing the Hong Kong film decline in 1997, it is not difficult to imagine how much CC's chicken blood has been injected into the Hong Kong film market by the appearance of "Infernal Affairs". No matter how strong the cast lineup is and how cool the "film noir" style is, the "Infernal Affairs" name alone has brought the film into a high position that integrates traditional Buddhist culture and modern urban life.
Therefore, in the first part of "Infernal Affairs", it is emphasized all the time that everyone in the film is a mortal with his own selfish desires: Huang SIR wants to arrest Han Chen, and would rather send his most proud men to lie in ambush for several years, so that he is physically and mentally exhausted. On the verge of a tragic death in the elevator; Han Chen is a villain with no humanity, who kills without blinking and eats lunch too fast. On the contrary, the images of Tony Leung and Andy Lau have added the settings of ex-girlfriends and current girlfriends for the sake of three-dimensionality. It's a pity that the girlfriends are both acting as soy sauce characters, and the promotion of the plot is neither strong nor reasonable. (So some people questioned why Chen Huilin finally found Liang Chaowei's file from the director, and the unclear explanation of his ex-girlfriend and child once gave me the illusion that Liang Chaowei was being cuckolded (￣▽￣") ).
And, the theme of the movie is set. It is determined that "longevity is the catastrophe in the endless hell", that is, the one who lives the most sin is the one who will enjoy the pain of eternal life. But Huang SIR, the culprit who made Tony Leung struggle with his dual identities, was finally able to The "tragic death" of other people's hands became a hero, and it seemed that Leung Chiu-wai, who had always obeyed the orders of his superiors, was forced to work harder. It's hard to resonate deep in my heart, especially when I saw the classic passages on the rooftop that were broken by dubbing, and I made a complete play.
But "Infernal Affairs" 2 surprised me, and I saw it grow like this after just one year. Zhikuai's screenwriters, Zhuang Wenqiang and Mak Zhaohui, have a clear understanding of the narrative rules of commercial films endorsed by Hollywood.
The first is the "humanization" of the characters. Huang SIR, who is Han Chen's friend, is literally a "tragic hero" de-heroized in Hollywood movies: being chosen by Hu Jun (the cast of the co-produced film really makes me really helpless, although I have seen " After "Lan Yu", he could see Hu Jun's concern for Huang SIR) for many years, but he was killed by the boss of the Ni family, which completely inspired Huang SIR's determination to kill the boss of Ni, and pushed him first. "Uninterrupted" hell (in the end, he made himself a great enemy who would kill him undercover in the future); Huang SIR's almost paranoid friendship with Han Chen, and Huang SIR's human weakness that he lost his sense of reason when facing his brother, It is reasonable and reasonable to reinforce his "sin" and become the last sinner living in "time and space". And Han Chen, who started out as a little villain who enjoys Huang SIR's favor (and always invites him to lunch (￣▽￣")), is a little villain who insists on following Ni Boss. One of the highlights) After being killed by his boss, he was completely inspired by the evil in human nature like Huang SIR, and he used Huang SIR and the Thai guy to end the enemy step by step, and he fell into the "infernal" hell. Narrative The chain is also leak-proof.
Especially when comparing Carina Lau's female character and the roles of several girlfriends in "Infernal Affairs", I think that omitting a thousand words here can clearly feel that Carina Lau's character is promoting the psychological changes of the main characters and promoting the rationality of the plot. The indispensable role of the development. It completely got rid of the role setting of the Infernal Vase. Especially the emotional rivalry between Carina Lau and Mrs. Chen, the roles of Mr. Chen and Han Chen have been sublimated three-dimensionally. It cannot be ignored. The second is the "metaphoricalization" of the background. " Infernal
Affairs" 2 is particularly clever in combining the return of 97 with the psychological changes of the characters. What's particularly remarkable is that the ending part is accompanied by the report of the return to the reality, and the parallel montage switches The confused, painful, and forbearing psychological changes of the two protagonists who have fallen into the "infernal" hell. It is especially easy to think of the confused period of identity that the 1997 handover brought to Hong Kong people (such as Chen Guo's "Last year there were too many fireworks"). "). At the same time, it reinforces the fate theme of the inexorable fate. The paragraph ends with Han Chen's missing girlfriend's weeping face intertwined with the fireworks celebrating his return outside the window. In a blink of an eye, he takes on a new identity (underworld boss?) , The great contrast of sadness and joy deeply shocked my fragile little heart.
In the end, although the movie ended in a very cliché way with Mr. Chen's charming smile in order to echo the first vase girl Mary, it was somewhat suspected of selling laughter. However, the subtitles that echo from the beginning to the end, the smooth lens language, and the consistent "film noir" tone and style still do not prevent "Infernal Affairs" 2 from becoming a peak "sequel".
PS I still prefer Shawn Yue to play the useless back alley boy╮(￣▽￣”)╭
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