It is said that Hu Jinquan's Drunk Man and Zhang Che's One-Armed Swordsman, one freehand and the other realistic, created a precedent for innovative action films. Looking at it now, the advantages of the drunk man are still good, and the shortcomings cannot be obliterated.
The drunk man has many similarities with the Crouching Tiger, Hidden Dragon. Jin Yanzi is like Yu Jiaolong, with a rigid and stubborn personality. The drunk man is like Li Mubai, who guides him with the principles of life, but at the same time he is deeply emotionally troubled and can't bear it. I had to kill my brother to kill him.
However, Jin Yanzi is straightforward and gratifying, while the drunk man is too scheming, pretending to be crazy and acting stupid, but he bears watching the bandits occupy the temple and kill innocent people. So why stay in this small town? He is also familiar with the fifth of the gangsters. To say that he has withdrawn from the arena, there is no manifestation of his inner contradictions.
The Drunk Man appeared too late and ended too quickly. From watching the fun at the beginning, laughing and scolding to the later drama, he was too hasty. This is a movie in which the government and the gangsters exchange hostages. The Jin Yanzi on the officer's side, the smiling tiger on the gangster's side, etc., attack each other, while the drunk man and the monk Liaokong are just two outsiders who appear late. The end is fast, but it seems to be the protagonist of the film. As a result, it is not clear enough, and the characters are not fully displayed. Compared to Yu Jiaolong and Li Mubai's inner excavation, it seems too shallow.
The other thing is that fighting looks too much, not cool enough. Hu Jinquan used close-ups to show a lot of killing scenes, and sometimes used medium shots to show big scenes, and the editing was very rhythmic. The fight between Jin Yanzi and the bandits in the temple, first indoors, then outdoors, first in groups, then singles, and then in groups, is very structured.
However, what is needed now is the real thing, like Xu Haofeng or Lu Yang, who also jumps around and breathes air, neither the chicness of Crouching Tiger, Hidden Dragon nor the visual effects of so-called fantasy martial arts. Of course, that was the 70s, and stunts were limited after all.
Of course, the advantages of the drunk man are very obvious. Peking Opera-like fighting, standing, and gestures have the feeling of Peking Opera performance, and the exquisite pictures and the exquisite soundtrack make the rhythm of the play very solid. In the inn, Hu Jinquan also showed in the Dragon Gate Inn. He was not in a hurry, and the soldiers first followed suit. The fights were also in-depth day and night. I am afraid that people today will not appreciate this calmness.
This film is still a world where good and evil oppose each other. The evil does not overpower the good. This is still too classical, and modern people should feel that it is a bit facialized.
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