After watching the film "The Heroine", I continued my life with great satisfaction. 50 years ago, Hu Jinquan was able to reproduce the era 400 years ago in film language, which shocked and regretted. In this film, there is liberalism, there is love, and these two elements even support the story line of the entire film. At the story level, the conflict between Confucianism and Buddhism is intertwined with the struggle between people when society is about to collapse. Director Hu Jinquan used the language of movies originating from the West to present a story with an oriental temperament. All can be seen in the details of the film.
During the filming of the film, Hu Jinquan spared no expense to build three antique streets and a hundred old houses in nine months, employing more than 1,200 technicians. In order to make it old, he also burned some buildings. These costs alone reached 14 million Taiwan dollars. Hu Jinquan only devoted himself to his creation, but the Federation could not bear his wasteful spending, and the shooting cycle continued to lengthen. After the completion of "Chivalrous Girl", it was released in two episodes, but the box office was not satisfactory.
After the completion of "Chivalrous Girl", Hu Jinquan intends to send it to Cannes to participate in the exhibition. The Federation does not believe that it will win the award, and refuses to pay any unnecessary expenses. In 1975, he edited the three-hour international version and sent it to the Cannes Film Festival, but United Films refused to pay any more. Hu Jinquan eventually went there at his own expense. The film eventually won the prize and sold the European copyright, which finally made up for the loss of the film.
——from Baidu Encyclopedia
Spiders prey and live in dark places. Qishan guards the saddle of the two mountains like a fierce general, solemn and solemn. The reeds are fluttering, beautiful. This kind of landscape freeze-frame aims to set off the artistic conception and explain the environment. Don't rush into the story, creating the soothing rhythm that epic movies are accustomed to.
Jinglu Tun Fort has been in decline for a long time, the courtyard is overgrown with weeds, and the reeds everywhere create a sense of visual continuity. In the evening, a layer of golden light was plated on the house number of "General Zhenyuan Mansion". At this time in the world, military power is declining, the government is powerless, and border comfort has long been neglected.
Gu Xingzhai, a scholar, met Ouyang Nian by chance. The close-up here is quite like a Peking Opera mask. In addition to Ouyang Nian's heroic spirit, there was more murderous aura. The fighting scenes that followed were edited and soundtracked in the style of Peking Opera, which shows that the director's kung fu is profound.
Gu Xingzhai followed Ouyang Nian, both of them were not ordinary people, and the story started from this. The movement of the camera and the performance of the actors are in place here. Gu Xingzhai said hello, Ouyang Nian was surprised at first, and then Gu Xingzhai kept his eyes on Ouyang Nian. In just a few minutes, unrelated characters are closely linked by the combination of cameras.
-0:13:03-The monk appears - this is the third force in the film. So far, the government represented by Ouyang Nian, the exile represented by Mr. Lu, and Gu Xingzhai have all appeared. The subsequent stories also revolved around these three forces. The story can be told so well without lines.
Gu Xingzhai's heart is more contradictory. He scrupulously abides by the creed of "gouquan life in troubled times, do not seek knowledge from princes". But he was under pressure from his mother to make him an official and marry. What he lacks is not wealth, but Bole.
There are no heroes in this film, everyone has a character. Gu Xingzhai said with his forefoot, "Zibuyu, strange power and chaos," and then copied a talisman to hunt ghosts with his hindfoot. Gu Xingzhai looked weak, but he was actually cautious.
Gu Xingzhai fell in love with Miss Yang at first sight. Miss Yang's hidden feelings made him suspicious, and Ouyang Nian's appearance accelerated the development of the story. The film slowly revealed the truth through events such as his mother encountering Mr. Shi in the rain, and Mr. Lu seeking medical treatment for a cold. The film uses a lot of smoke to create a mysterious atmosphere and at the same time realize various surreal scenes together with light.
- 0:51:50 - My favorite segment in this film.
Gu Xingzhai and Miss Yang agreed to meet, and the lights and shadows floated in the house, expressing affection. The singing tells the girl's original intention. The song sings:
A pot of wine between the flowers, drinking alone without a blind date.
Raise a glass to invite Mingyue, and form three people against each other.
The moon is not able to drink, and the shadow disciple follows me.
Temporarily accompany the shadow of the moon, and the music must be in the spring.
My song month is wandering, and my dancing shadow is messy.
Intercourse when awake, and disperse when drunk.
Eternally ruthless travel, looking forward to Miao Yunhan...
Xing Zhai walked past the pampas and sat in front of the young lady, his perspective changed. Powerful off-axis, actor sideways. The perspective crosses the room from the left, facing the moon shadow in the water and the lotus leaf. splicing. From the right, the angle of view passes over the girl's face, Xingzhai's face is facing the lotus leaf Lianlian, and the shadow of the moon is whirling.
The girl looked up at the moon, and Xingzhai knew what she was thinking. At the climax, thunder broke out, and the two of them had a good night. That thunder and lightning are not only the surging emotions of the two, but also the danger that follows.
A lot of imagery is used in this film, and the splicing of different scenes makes the transition easy and interesting. The empty scenes that were originally meaningless were transformed in the hands of Dongfang Director, and matched with the music, it was more suitable to express the feeling of lingering voices and unfinished thoughts.
On the second day, the audience already knew about the Spring Night, so there was no need to say more.
In this fight, the audience should focus not on fighting, but on performance. The expressions and movements of the actors stand out in the simple track shots. The division of foreground and background creates a stronger aesthetic for the film, and also reserves enough space for the actors to play.
The director takes authenticity very seriously. Using branches and swords as springboards, the two geographical spaces are linked together. Space is what the film focuses on. This jumping shot makes a shot set by director Hu Jinquan logically meaningful.
Only those who practice martial arts can jump over the gap in this space, and Gu Xingzhai, who arrives later, endows the appearance of this scene with practical significance.
The silhouette is shot against the light, and the Tyndall effect renders the picture a gradient effect from white to black, which seems to express harmony in the style of landscape painting, but actually expresses the action. The sound of the sword cutting through the air was clear. Wow, I am amazed every time I see this. I really wish this shot would take longer (if it is the current director, it will take a long time, such as "Shadow"). But Ouyang Nian was in a state of defeat and escape at this time, and he would definitely not be entangled with the heroine. This is also one of the manifestations of the director's clear logic.
Subsequent scenes were night fights that were equally shocking, using almost the same technique to shoot the action.
The two drew their knives indoors, and then went outside to face each other, playing Peking Opera snare drums. The expressions of the characters can be clearly seen in almost every frame. Who doesn't like such a night scene?
An overtone montage:
A rhythm montage:
The most classic battle in the bamboo forest has attracted future generations to follow suit.
I don't think there's much to say about this scene, the scene alone is enough to suspense.
A condescending blow to complete the lore.
Tool man - Ouyang Nian. Status - miserable.
Use the scene change to create a terrifying effect.
Gu Xingzhai suddenly became fearful after seeing the corpses all over the place. He was worried about Yang Huizhen's safety, and he was afraid that she would leave him, so he set out to find Yang Huizhen. But Huizhen's message to him was 16 words, "The fate of evil is over, convert to the empty door; Gu's cigarettes are endless." It's too subtle, too surreal. Regardless of who the child is, with this mirror, Yang Huizhen has already repaid Gu Xingzhai for his help. After that, Yang Huizhen's choice was to end the fate under the guidance of the Shi family.
If Gu Xingzhai left with the child and Yang Huizhen converted to the empty sect, everyone would be happy, but that would not be "Xia". "Xia" refers to freedom, and freedom is to be responsible for what one does.
The film ended with the appearance of the abbot, but I didn't understand the meaning of this paragraph. After Xu Xianchun cheated and surrendered, the abbot took a bite back, and his golden body was broken. the same fate as Jesus. Yang Huizhen's evil fate is not over, so she will make mistakes in the future.
The abbot finally showed Yang Huizhen the way and asked her to follow Gu Xingzhai.
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