At the beginning of the chapter, there was an 8-minute long shot that is enough to be recorded in Hong Kong film history. There is also a small tidbit: because this set of shots was too difficult, the setup team specially invited the photographer who had shot "The Lord of the Rings" to come to Hong Kong to do it himself. As a result, after studying the script, the latter found that the difficulty of shooting was beyond his imagination. After declining, the local film crew became angry and became self-reliant. It only took about 3 days to complete the impossible task. I have to say that the reason why Hong Kong was once called "Oriental Hollywood" is inseparable from the efforts of generations of Hong Kong filmmakers. It's a pity that the golden age of Hong Kong movies has become a thing of the past, which is really sad.
The male and female protagonists of the film are held by Ren Xianqi and Chen Huilin respectively. Neither of them came from a professional background. It is really courageous for Du Qifeng to use these two to be the leading role. All the supporting roles are the golden supporting roles in Hong Kong movies: Zhang Jiahui, Xu Shaoxiong, Ren Dahua, Lin Xue, etc., and even You Yong, a powerful mainland actor, has joined. Ren Xianqi may be unfamiliar with the younger generation of children. In those days, he became popular all over the country with the song "The Heart Is Too Soft", and then participated in a series of movies and TV series. It's a pity that God gave him a good voice, but it didn't give him a good acting. In the Taiwan version of "The Condor Heroes", "Swordsman", "New Chu Liuxiang", the cast lineup was all luxurious in that year, but unfortunately the performance was a disaster. The only contribution may be the good opening and ending songs in these dramas, which are examples of "singing popular dramas are not popular" and "bad movies comedy". After that, the films he participated in have been tepid. Ren Xianqi's appearance is not handsome and handsome in the entertainment circle where male gods gather, and he has no "camera sense" in front of the screen (not on the camera), and because he has not accepted it. Formal lines training, his curved accent really makes people play. It was not until the 2016 "The Big Tree Draws the Wind" that it gave me a feeling of being reborn. Chen Huilin, who shares the same illness with him, is also my favorite Hong Kong female artist. She was a queen-level figure as famous as Faye Wong at that time, and she is also a newcomer in acting. The characters in this film tend to be stereotyped, giving people the feeling that they are not deep enough and lack the majesty that Zhang Jiahui's boss should have. On the contrary, the wonderful performances of the supporting cast and veteran actors propped up the film: "Brother Huanxi" is the joyous responsibility of the whole chapter, adding a touch of black humor to this serious and tense confrontation between the police and the bandits; Zhang Jiahui's police impulse, He is irritable and does not hesitate to arrest the gang of gangsters headed by Ren Xianqi even if he disobeys the orders of his superiors. From him, he can see the shadow of the future actor; the killer played by You Yong is calm, wise, and also leaves a deep impression on people. He and Ren Xianqi are in the kitchen. The scene of cooking together, and the scene where life and death in the elevator booth were still teasing each other at the end (which also laid a foreshadowing for the final ending), all showed the personalities of the two thieves vividly.
Police and bandit movies in Hong Kong movies are already a mature genre, and the audience is also well-informed in the various battles of wits and bravery between police and bandits. "Big Event" is still eye-catching in terms of subject matter and focus, but the root cause of the incident in the film (according to the original words of the policeman played by Chen Huilin in the film: from beginning to end, this is a show to the media and the public. Show) and traditional media, the film is just scratching the surface, not digging deeply. But the film still has practical significance today. I have to admire director To Qifeng's forward-looking vision. At the same time, I am also thinking deeply about a question: in today's highly developed media, how can we, as ordinary people, distinguish which information is true? Which information is false, and when "seeing is believing" is not the truth, who else can we trust? There is a scene in the film that left a deep impression on me: when the mass media asked the police for the latest real-time information, the person in charge of the public relations department said to Chen Huilin: "As long as the live video sent back in real time is properly edited and the soundtrack is appropriate, the Even the fact that the police are inferior will give the public the illusion that the police have surrounded the gangsters." Today, this is already a standard technique used in entertainment circles or in government public relations, as long as the government or capital monopolizes or controls it. Public opinion, then the information we receive as melon eaters is the "truth" they want us to see. In the eyes of fans, all kinds of traffic florets and fresh meats have perfect characters, and this is the result of careful "packaging" and "editing" by the brokerage company or team behind them. Their real side will never be seen by fans, just like the Hong Kong people in the movie can only see the heroic police facing the gangsters, but never see how embarrassed they are (if the villain does not record the video and put it online , then the police have achieved the goal of rebuilding the public image and restoring the confidence of the public). Although today's information society is extremely developed, this information asymmetry still exists. In the big environment, we ordinary people can still only be the "rabble crowd" described by Le Pen. Thinking about it, it really makes people feel helpless and helpless.
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