master
Wong Kar-wai is one of my favorite Hong Kong directors, and his use of lens scenes conforms to my oriental aesthetic standards. In particular, The Grandmaster is an "action film" with a lot of literature and drama. It is even more handy. At the beginning of the first act of the film, the fighting in the rain shows the aesthetic charm of the East to the fullest. Rain can be endowed with many meanings in the artistic conception of orientals. There are many shots in this film, all of which have a personal feeling of the Republic of China. Like Embroidered Spring Knife, it is also a story of a person under the torrent of the great era. But obviously Wong Kar-wai's storytelling ability is much better. You may know more about Ip Man when you play I Want to Hit 10 in Donnie Yen. But Wong Kar-wai's IP Man is more calm. It can be said that he is not the protagonist of this film, but one of the participants in this time and space in the film.
Wong Kar-wai's lens color debugging is always very "Hong Kong flavor". And very energetic. The narrative of film language is not procrastinating at all. And the empty mirror under his lens will also give people a stunning feeling. Coupled with the warm yellow tone, it simply expresses his personal aesthetics incisively and vividly.
Ye Wen (Tony Leung Chiu Wai), a native of Foshan, Guangdong Province, is the head of Wing Chun Boxing. When I was young, my family was well off. I learn boxing from Chen Huashun, who is a descendant of Wing Chun. The master's warning of "One Belt, One Road" supported him to go through the chaotic era of war and chaos and regime change. His wife Zhang Yongcheng (Song Hye Kyo) is full of energy and outstanding ability. They sing together. 1936, Foshan Wulin was in turmoil. Gong Yutian (Wang Qingxiang), the owner of the Bagua Palm, was old and promised to retire. However, as the president of China samurai club, he naturally attracted the attention and covet of martial arts experts. Including Ma San (Max Zhang), Ding Lianshan (Zhao Benshan), Ghost of the Kanto, and Ye Wen Wing Chun, all focused on Gong Yutian. Boxing has north and south, state-owned north and south? Only the most virtuous people can shoulder the heavy responsibility, but this erratic reputation has attracted countless confused people to get drunk and waste their lives. Children born in troubled times are buried in their hearts and crushed into mud by cold wheels. (Excerpted from Baidu Encyclopedia)
Wong Kar-wai's lens is sometimes "dragging", and he likes to express his current emotions with a slow mirror. Even now, not many directors can make good use of this demotion. Wong Kar-wai's lens aesthetics can be described as textbook-level existence. It is worth seeing.
grasp
As an action film, Master's action design has been criticized by many people. Some friends think it's too fake, and some friends think kung fu is like this. Its main martial arts types are the same as those of the first generation of masters, but the protagonists are different. Its scene layout was very beautiful during the Republic of China, and I personally think its martial arts movements are also very real. Different from other action movies, there is a refreshing feeling from boxing to meat. On the contrary, although it does not have fancy stunts and peerless kung fu, it has that kind of real aesthetic feeling and the charm of oriental martial arts. The tricks inside are basically based on the normal logic of showing the world.
During the Republic of China, Master Chen Shi (played by Liao Fan) came to Tianjinwei to complete the mission of "wing chun and returning to the north to promote martial arts". The newly arrived Master met the teacher's mother (Song Jia) in a western restaurant and fell in love at first sight. Later, it is said that they tied the knot. In order to gain a foothold in Tianjin Martial Arts School, Master Chen took a young man Geng (Song Yang) from Tianjin as his apprentice, and according to the Jianghu rules, the apprentice had to take the place of the master and was involved in a great change in the Jianghu. At first, both of them had their own worries, but after a "life and death disaster", they both gave birth to feelings that were hard to give up. Master originally took the promotion of martial arts as his lifelong sustenance, and his apprentice was only a means to fulfill his dream of rivers and lakes, but he was inadvertently bound by fate. Disciples are brave and unrestrained, but they always stick to their mission at important moments. Their hearts are still the same, but they can't bear the true feelings (from Baidu Encyclopedia)
Its plot design is similar to embroidered spring knife, and it is also the protagonist who challenges the whole "Jianghu" alone. Jianghu is a unique social environment of oriental artistic conception. In the whole artistic conception of Jianghu, it is very easy to show the shots with oriental aesthetic flavor, and most of the shots in this film are also very oriental aesthetic, and although its action design is not that kind of feeling from boxing to meat, it is very smooth and not procrastinating at all. The color matching of the lens is not as extreme and dull as in Wong Kar-wai, but if you like the style of embroidered spring knife, you will definitely like this movie.
New Dragon Gate Inn
Xinlongmen Inn is a "Jianghu" movie that I personally like. It vividly shows the involuntary atmosphere in the Jianghu. Moreover, its lens application has the aesthetic color of that era, giving people a sense of retro nostalgia. Moreover, the protagonists have their own charms, and the actors of that era always give people a lot of different aesthetic feelings. The whole play is full of the beauty of the "rivers and lakes" in the East. Jianghu is actually an indescribable thing. In the last century, Hong Kong films always portrayed their own "rivers and lakes" very well, each with its own wonderful features.
During the Tianshun period in the middle of the Ming Dynasty, Cao Shaoqin (Donnie Yen), the eunuch of the East Factory, framed Yang Yuxuan, the minister of the Ministry of War, to death, and used exile as bait to lure Yang Yuxuan's troops to Huai 'an (Tony Leung Ka Fai) next week in an attempt to arrest all his old troops. Qiu (), a chivalrous woman in Jianghu, is entrusted by her lover Zhou Huai 'an. After a bloody battle, she rescued Yang's children and met them at the Longmen Inn on the desert border. Unexpectedly, the disguised East Factory Santan led the masters to follow. Jin Xiangyu (Maggie Cheung), the proprietress who manages a black shop for a living, is coquettish and affectionate, and has a crush on Zhou Huai 'an. Unfortunately, Zhou Huaian already belongs to Qiu Moyan. At this point, Cao Shaoqin's big brigade is coming to Longmen Inn, where there are experts from the East Factory. Coupled with the unpredictable weather in the desert, Zhou Huai' an and others are tired of getting out. Zhou Huai 'an found a secret passage in the inn. In order to save Yang's orphans, Zhou Huai 'an did not hesitate to find out the secret passage on the condition of marrying, and made an agreement with Qiu Moyan and others to escape from the secret passage on their wedding night. Unexpectedly, Cao Shaoqin's big brigade has been killed. (Excerpted from Baidu Encyclopedia)
Personally, I like the aesthetic system of Hong Kong films very much. No matter how their directors and actors are arranged and combined, just a glance can make people see that this is a Hong Kong film. Their overall atmosphere is always different from movies in other places. Most of the early Hong Kong films were based on the grievances in the rivers and lakes, which was different from the later police films. The aesthetic attainments of these films shot in the golden age of Hong Kong movies are very, very high, and they are worth seeing.