Text: Wuyou/Cai Gongzi
in his self-organized film company’s first work "Blood After "Street" suffered a fiasco at the box office, Wu Yusen's later commercial-based "Across the World" was really relaxing, but after all, it was quite different from his previous unique style of heroic chivalry and fierce passion. He advocated violent aesthetics in his bones. The old Wu of Wu is thinking hard about the best balance between art and commerce. One year later (1992), "The Detective", invested by Golden Princess and produced by new milestones, was launched.
The narrative style of Wu's works has always been clear and clear, and the plots of the story are mostly developed in chronological order. The same is true for this film: Chow Yun-fat plays a brave policeman TAQUILA, who is investigating an arms case and acting as an undercover A Lang (played by Tony Leung) From misunderstanding to becoming friends, finally we worked together to destroy this criminal group... It looks like a normal police movie. To be able to make a big fuss on such "slender" themes and make them stand out, requires a strong script setting and deep director skills. Also in 1989's "Blood Two Heroes", the plot setting is relatively simple, but so many deep things have been excavated in a few limited spaces, which is exactly what Wu Yusen is good at.
At the beginning of the film, in the shootout between the police and the robbers in the Yunlai Teahouse, TAQUILA and his colleagues pre-war seemingly relaxed ridicule, the arrogant talk of the arms dealers when trading, the use of fast and slow mirrors with careful positioning, and the complicated but not messy part of the space. Conflicts are all manifested vividly. When TAQUILA kicked the bird cage fiercely, the smuggled guns were swung out, and the teahouse that was as calm as the water instantly turned into a battlefield for Shura! Bullets fly freely in the air, surrounding objects are flying in the sky like snow flakes, and plasma sprays like arrows... In this scene, the lens is always in motion, the fast lens when transposition and the slowness when hitting the object The combination of the mirrors was neat, and the puffs of gunpowder and the airtight gunfire in the picture made people breathless. In just a few minutes, the fierceness of the gangster and the police shooting, the brutality of shooting innocent people in the way while fleeing, and the mutual care between TAQUILA and colleagues are all accounted for calmly, without a sense of chaos. After years of exploration, Wu Yusen's shooting methods and the layering of the camera editing at this time have obviously reached the level of perfection. This scene can be called a model of local processing of the gun battle film produced in Hong Kong. (ps: It is said that the white pigeon is indispensable in Wu's movie. Because of this request for new changes, the bird in the cage before the fire is not counted. If you watch carefully, it actually flew out in a slow mirror when TAQUILA was angry in the kitchen. A big cock...)
The character portrayal in the film is mature. After a colleague and friend (played by Lin Baoyi) was killed by the third brother of the gangster, and the fire-breathing TAQUILA subdued him, he did not hesitate to shoot the other party. The team leader (Chen Xinjian) who rushed to reprimanded him for cutting off the clues that had been traced for a long time. At this time, TAQUILA was like a kid who had done something wrong. While looking at the body of his companion with pain, he did not dare to look straight with a guilty expression. When looking at the thunderous team leader, with only a few words, Fa Ge presented the whole character's brave and emotional character to the audience.
Compared with the low and sad saxophone in the background when TAQUILA missed his old friends in the bar, the appearance of A Lang (played by Tony Leung) suddenly became loud and even a little abrupt. He was ordered to question the uncle Shanghai for betraying the underworld in the library. When he had a moustache, he simply said two sentences: "Uncle Hai asked why you betrayed him?" "That's it." Then he drew a gun and exploded the other's head! The whole process is as simple as breathing. The assassin's smile when he sat down, his cold eyes when he stood up, and his expressionless face when he wiped the gun, were so restrained by Tony Leung that it was frightening. Unlike Chen Songren, who had the same fate ten years later, this undercover is more like an undercover. Talking with Uncle Hai (played by Guan Haishan) about the soulfulness and tranquility of the world, and negotiating with another arms leader, Zhuang Ni (played by Huang Qiusheng), he was not humble or overbearing enough to pat TAQUILA on the shoulder in order to prevent the entire plan from being destroyed: " Remember me", and then knocked it down with a rifle... A Lang, who has been hidden in the underworld, cannot be indecisive in doing things, nor can he tolerate him indecision. Living in the gap between black and white, the line between good and bad is sometimes blurred, which is more convincing than Chen Songren's insomnia for thinking. Later, when Uncle Hai faced A Lang who was about to kill him, he said, “This is the way things are in the world. There are some things you don’t want to do, but you have to do it.” Wu Yusen explained his own undercover philosophy through the words of Uncle Hai. .
"I kill you or you kill me about the rivers and lakes!" When Zhuang Ni decided to kill Uncle Hai in order to dominate the arms business and invite A Lang to help, the fate of the rivers and lakes was completely shaken out and put down. A Lang on the phone had already foreseen the result. When he stared at the paper crane in the sky that heralded death in the smoke, his expression was complex and hopeless. At that time, what was he thinking? Is it an unrighteous betrayal? Or is it the execution of justice? ! !
On the way to Uncle Hai’s warehouse, Alang still couldn’t help confirming to Zhuang Ni, when Zhuang Ni said, "If you want to fight the world with me, if you want, just shoot me in the back... I die without complaining." At that time, A Lang was already cruel, "I have a gun myself...".
Huang Qiusheng, who played Zhuang Ni, was still a vigorous and prosperous person at the time. Compared with later showing people with a beard and stubble, he had a normal thinking and a smoother face. In the whole film, I think the performance here is the best. When he heard A Lang's acceptance, he smiled and put his gun in his arms, and acted out the underworld boss who had already become a bamboo in his chest and was extremely deep in the city.
There are not many repertoires in the film, but it is very OEM. The timeless saxophone in the bar, the drumming of gangsters' bullets, and two cappellas when the informant and the police leader pass the code. The author also noticed that there is a background music that is constantly used in several places, such as outside the kitchen of a tea house and in the mortuary of the end hospital. Friends who have read it many times should have the impression: short and hurried, listening carefully is like the sound of a countdown clock, making people's nerves involuntarily tense with the hour. I call it the "string of time". The most appropriate application here. As Zhuang Ni's motorcade approached its destination, the "hour" became stronger and stronger. When Guo Zhenfeng fired the first shot, the hour hand finally pointed to the second shootout in the film.
As stated in the title of this article, the author has never doubted the reserves of Wu’s ammunition depot. "The True Colors of Heroes" is still in the early stage of building the library. The bullets are limited, and you have to shoot one by one; you can buy them in "The True Colors of Heroes II". I entered a lot of guys, the same pistols, which can be fired continuously, plus grenade and fire milling, but also lively. Later, it may be that after the baptism of military equipment on the Vietnamese battlefield in "Blood Street", to "Hot Detective", it seems All of a sudden, a huge arsenal fell from the sky, and all kinds of light and heavy weapons, large and small, took turns to form the most spectacular visual feast in the history of a Hong Kong gunfight.
If the start of the teahouse gun battle is like an aperitif before a big meal, which aroused the appetite of the audience, then the next warehouse fight is definitely a specialty dish offered by Chef Wu, meat and vegetarian dishes. At the end of the game, straight teachers are overwhelmed and hooked!
As soon as Zhuang Ni’s motorcycle team stepped into the warehouse, the good show began. According to the author’s experience in filming, Director Wu may put all the previous gunfighting skills in this scene this time, just like mercury leaking to the ground. Bullet jets, huge explosions from the ground, a series of bombshells in the air, debris flying around, fire and smoke... Due to the expansion of space, the difficulty of shooting has also increased, scattered props and many The deployment of personnel requires a superb level of guidance. Wu Yusen uses multi-camera stereo shooting here. An Action usually uses two to three lenslets. For example, if the boy fell from the tower, he used the left, right, and bottom three. Group: A Lang and TAQUILA shooting this seemingly simple Action actually needs four groups, and the reorganization and switching of the fast and slow lenses are required. From the above two simple clips, we can also see the hard work and dedication of the later film editing. The film’s editing lineup is strong, Wu Yusen, Xi Jiewei (later edited "Kung Fu"), coupled with the film’s music editing Hu Da to help out, smooth movement of the mirror and the dynamic sense of music to assist, from the current perspective Look, it is no exaggeration to say that it is a textbook for Hong Kong film editing. The sound effects of this scene are also very good, the metal feeling of the pistol is clicked, the continuous sound of the micro-impulse shot, the all-round sound of the gun popping out, the explosion of the object and the splashing of sparks. The smacking sound... The level is distinct and the sense of presence is very strong.
Never doubted Director Wu's persistence in pursuing the authenticity of the filming. He always asked the actors to be more professional and dedicated...or more desperate at the scene. Not to mention that the action director Guo Zhenfeng can stand up and shoot with his gun freely after a huge impact only one meter away from the explosion point. As the main actors, Fa Tsai and Wei Tsai are also fighting hard in the flames! Judging from the final editing screen, there are very few double shots, most of which are real people. The dignified and vigilant look on the face is extraordinarily lifelike (), is it the need for professional performance or the true expression of the heart, ha ha, This is about to ask the two heavenly kings themselves, and the answer to the black-faced god may only be one: professional, professional, and too professional.
From "Blood on the Street", I can say that I have a new understanding of Tony Leung. For the niche who was the head of wireless at the time, I have the impression of handsome appearance and disrespectful cynical appearance. When I see him playing Ah B facing Ah When Hui was tortured and almost mad, his face distorted by pain was a surprise, but Wei Tsai was not satisfied with the performance. This time Director Wu gave him another opportunity to perform. Seeing the shocked expression of Uncle Hai’s betrayal to him, A Lang was in pain, but Zhuang Ni’s threats behind him had to make him tense, and he didn’t even dare to look at Uncle Hai until Uncle Hai said " I beg you, let my brothers go. It doesn’t matter if I die, it’s better than being shot to death by those bastards. A Lang, do as I say and shoot!” He suddenly raised his head and shot him. Uncle Hai. After turning around, the eyes were filled with tears, the painful smile, tight eyebrows, twitching facial muscles and the fierce murderous intent that flashed by when he made up his mind when he passed by Zhuang Ni, until it was killed. The brothers in the past were panting for breath...Wei Tsai's interpretation of an undercover image that is painfully searching for answers between justice and evil is a highlight in the film.
The lighter, as a birthday gift similar to Tony Leung received ten years later, is similar in appearance but different in purpose. I really like some of the subtle settings in Wu Yusen's movies. They are inconspicuous, but they are often the key to the beginning and the turn of the plot. When A Lang put the lighter in the pocket of Xiao Gao, who was also an undercover after the exposure, and shot him down into the sea, no one knew what would happen until Xiao Gao, who was covered in blood, staggered to the bar and said Zhuang Ni. At the location of the arsenal, I think many people will be surprised. It turns out that the scene can be filmed like this. It is suspicious and extremely dangerous. Of course, Director Wu is humble. He will use TAQUILA's words in the film to indicate: "Hehe, you are always great...the great is not me, it is the one above.".
The one above took seven days to create the world, but the one below took 40 minutes to complete the longest night in the history of a Hong Kong film shootout.
From the perspective of layout and scale, the three main shootouts in the film can be described as one wave higher than the other, and in the end it can be called a huge wave. It should be said that this highlight of Mingxin Hospital has a lot of criticism. Most film critics pointed out that because the front line was drawn too long, it caused the audience's visual fatigue, and the loose scenes appeared messy. As mentioned in the previous article, the author believes that Wu Yusen's skill in mastering small and medium-sized gun battle scenes is unmatched. Whether it is aisles, huts, churches or stairs, the subtle handling of parts can be called everyone. But Lao Wu was not very comfortable playing the big scene. The Vietnam War scene in "Blood on the Street" in 1991 was also criticized, so that a lot of footage was cut when it was officially released. Later in the United States filming "Change Face" was praised by many experts, and "The Wind Whisperer" continued to criticize. As a loyal fan of Old Wu, the author felt that the reason why so many films were used in this highlight was related to his mood at the time. The ambitious "Blood on the Street" was not applauded, and the commercial compromise "Across the World" could not express his true style. Amidst contradictions and hesitation, all the grievances and incomprehensions of reality (please allow me to use these two words) ) It is completely cathartic in this scene.
Throughout this forty-minute gun battle, from the clinic to the mortuary, from the mortuary to the underground arsenal, from the arsenal to the corridor, from the corridor to the nursery, and from the nursery to the corridor. …Every corner of the entire hospital has become a fierce battlefield; pistols, fire mills, shotguns, micro-charges, heavy machine guns, sniper rifles, grenades, detonators and even bazookas (ps: the wealthy son cs is invincible!), all can be The weapons that appeared were all used; detectives, undercover agents, gangsters, doctors, nurses, patients, flying tigers, team leaders, relatives, and even infant babies. the most. In such a complicated space and chaotic crowd, Director Wu gave full play to his energy! It can be as big as the scene dispatching in a rain of bullets; it can be as small as the tacit look between the policemen, showing a degree of relaxation and skill. Some of the bridges are full of tension: TAQUILA's confidence to shake a few concentrating blows, A Lang's bravery when connecting wires to the ground in spite of danger, the tragic confrontation between the undercover and Guo Zhenfeng, the cunning of the gangster using the patient as cover, A Lang The helplessness of killing one's own person by mistake, etc., of course, there is also the "blood-stained style" of the "good brothers" pair of TAQUILA and the baby that people talk about...So many different elements are gathered in the hands of Director Wu , Is still displayed in front of the audience in an orderly manner. In the author's mind, few directors in Hong Kong can do this.
Towards the end, Fa Ge carried the baby in his hands and fleeing in the intensive explosion is the highlight of this highlight. Because there is no use of a substitute, safety should be the top priority, but it can be seen from the picture. , "This time it's not here to play the birds, it's life-killing!"! Under the impact of a huge wave less than half a meter apart, Fa Ge can be called a real escape! If it weren’t for Director Wu who finally listened to the advice of arms experts to reduce a large amount of gunpowder, I think it’s hard to say whether I can see Fa Ge who is still active on the stage, and I don’t know Fa Ge who "successfully got out". Was he complaining or grateful to Lao Wu at that time.
Compared with the super popular style of the movie, the ending of the film is implicit. When Mao Silin (played by Mao Shunyun) handed over A Lang's files to the team leader, TAQUILA lit A Lang's lighter. Compared with the sad expression of the team leader when these files were burned, TAQUILA’s expression was relaxed, and even smiled from time to time. His ears echoed the conversation with A Lang: "I used to want to be upright. Police, I can’t see all of my work after graduation... I plan to settle in the northern hemisphere... Huh, ice and snow, aren’t you afraid of being frozen to death?... At least you’ve seen all of them. I’ve asked people, there’s twenty-four. There is sunshine every hour...". It's also an undercover agent. The "Dragon and Tiger Storm" did not go to Hawaii, but realized their bright dream here.
In the desolate and far-reaching Saxophone, Alang in the boat smiled and threw away the paper cranes that had once symbolized death. The sun's brilliance faintly flashed on the foggy sea in the distance...
Always, I always I like it, I like to play the movie I love constantly, so the Saxian wind turns from desolation to melodious. Twelve years ago, Fa Ge was so chic, the warm bar, the smiles of friends, and the accompaniment of soft music, make people intoxicated... At the same time, I was thinking deeply. Twelve years ago, Wu Yusen was thinking What are you holding? Is it the feelings for Huang Bingyao, the continued hesitation, or the thinking about breaking through yourself? Does the far away Alang represent him?
Oh, I went to the Yunlai Teahouse again, and heard the familiar birdsong. At the same time, I also heard the conversation between TAQUILA and his friends: "Hey, have you ever thought about sending your wife and children abroad?... I didn't even think about it, this This is my home. Even if I die, I will be buried here. I immigrate to a foreign country and I am not used to anything. I want to drink tea. I don’t have any door... Hehe, there are also teahouses abroad... It’s more orthodox here..."
I stopped thinking, looked at the red wall of the office building outside the window for a while, closed my eyes and enjoyed the music, enjoying the silence...
Suddenly a sharp shot woke me up, and the short and hurried sound came from my ears." "The string of time", I stared at the screen and clearly saw the team leader roaring at TAQUILA: "TAQUILA, you are so fucking hanging, as long as you have a gun in your hand... bullets are never wasted!"
… ………………
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