Director Mak Junlong once said to himself that the movie world he imagined has nothing to do with real-world politics, nor does he follow trends, but only what he once liked. On this level, "Zombie" is full of the small universe interest of Mai's "remaining self-sufficient" from beginning to end. The spatial display and interactive text system are about the memory of Hong Kong life at the end of the last century, and it also presents the inheritance of Hong Kong-made genre films in the 1980s. The "fetish" complex. The home furnishings in the film, from sewing machines to bathroom doors, all show a dwelling ecology hidden under the surface of contemporary Hong Kong scenery. The height of the 24th floor where the protagonist lives is the epitome of the height of Hong Kong's buildings. A residential environment with unique characteristics of the Hong Kong-British era makes it easier for the audience (especially the local audience from Hong Kong who came in the 1970s and 1980s) to consciously substitute into a scene constructed from images but extremely real. On the other hand, the film is named "Zombie", and the real name of Qian Xiaohao, who had starred in "Mr. Zombie" and "Mr. New Zombie" (1992), appeared and starred, and also used the golden age of Bao Qijing, Wu Yaohan, Lou Nanguang, and Chen You. The golden drama bone of , the intention to pay tribute to the old days is ready to come out.
To a certain extent, "Zombie" can be regarded as a microcosm of the short-lived "Hong Kong SAR New Wave" generation of filmmakers who have turned to maturity in the first decade of the new century. Weng Ziguang and Liang Liyan, who co-wrote the screenplay with Mak Junlong, also wrote the "Fire Fighting Hero" directed by Guo Zijian, and "Fire Fighting" itself is a large-scale production co-produced by the mainland and Hong Kong. The genre films are quite different. The diversification in form and the spirit of cohesion in the creation constitute the mainstream of contemporary Hong Kong youth film directors. In the face of the increasingly open mainland Chinese market, it is necessary to enter the co-production attempt, and the local Hong Kong film The complex has never been extinguished. This is the case with "Zombie". Its story model (the protagonist unites to deal with zombies), atmosphere construction (the residence with the characteristics of the times, Taoist appliances such as ink bucket lines, etc., and the soul-stirring entry and exit) are all similar to zombie movies. of the past. The characters who appeared in the film did not even use mobile phones, and they ate and cooked food, highlighting the regional type of "neighborhood", while wiping out the characteristics of the information age. Aunt Mei, played by Bao Qijing, sits in front of the sewing machine all day long, full of fear and trembling, pretending to be deaf and dumb during the process of refining the corpse, which directly clarifies the situation that the film is going to establish - an isolated world Outside, a desolate place that is slow and claustrophobic in terms of geographical location and spiritual temperament.
Although "Zombie" pays tribute to the past, it is a bit like "In the Ring", which was the top hit of the Hong Kong Film Awards a few years ago. Think of it as a simple regression. "Zombie" is wrapped in a sad and gloomy skin outside the core of the zombie film. The dark-tone photography of the whole film even deliberately adjusts the color to a cool tone, all reminding the viewer that this is only available in "Zombie" The world, not the action-comedy monster-killing show of the crazy ghost horses in the era of "Mr. Zombie". The sense of despair that runs through the whole film begins with the first scene in the film that travels around the world. Whether it is Chen You's statement as a Taoist priest or Hui Yinghong's frightening footsteps, they are all the same as the zombie films in the heyday of the 1980s. A fun-to-death way of playing is very different. The scenes of people fighting with corpses have a sharp style and no humor, and the latter is the fun of watching such films back then. Lin Zhengying, Xu Guanying and Qian Xiaohao did their best in "Mr. Zombie", making the process of subduing zombies twists and turns and embarrassing one after another, and "Zombie", on this level, completely turned into a display of suppressed space. There are obvious gaps between the bridge sections of the film. Qian Xiaohao's role seems to have become a needle thread, and Aunt Mei's affection and attitude towards the matter of her husband being "refined" are all flashed back after the event. Show, because it pays too much attention to the "review" function, the flashback of "Zombie" often uses means such as overexposure or warm color to make the image different from the ongoing picture. This is a rather oriental expression. , and also makes the structural innovation of dramas that may be further released still aborted. Although "Zombie" mainly focuses on old-fashioned cards, it seems to focus more on the artistic structure of the writer and director. Of course, this is also a good thing. Having a complex does not necessarily mean going back to the past.
"Xinmin Weekly" 2014 Issue 14
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