Always harsh film critics and amateur filmmakers, they take the initiative to become the water army of the film, cheering and fueling the marketing.
After watching this movie, my mood is somewhat complicated.
The complicated reason is not "this movie is overrated", but "this may be the last swan song of traditional Hong Kong movies"-
I decided to write this article to tell you some truth about Hong Kong movies. (No spoilers, you can rest assured to read)
In this film, the plot is simple: the major crimes unit encircles international drug lords, and suddenly masked bandits "eat black" emerge. These gangsters not only killed drug lords, but also slaughtered police in cold blood.
Zhang Chongbang (Donnie Yen) witnessed the killing of his comrade-in-arms. After in-depth investigation, he found that the bandit leader was Qiu Gangao (Nicholas Tse), a former comrade-in-arms. In fate, binary opposition.
Nicholas Tse played an enhanced version of Pan Chengfeng who was abandoned by the police and became a terrorist. Nicholas Tse's acting is great. He performed the best acting in his career. No accident, wait for the winner.
The taste of Donnie Yen is very positive, and the climax of hand-to-hand combat in the street corner of Hong Kong is deeply touched. I know everything and have nothing to say.
I don't intend to ruin your movie experience, and I don't intend to ruin your movie experience because of the plot review. What I want to say is that this movie is worth seeing, which is the best performance of Chen Musheng and Nicholas Tse so far. ...
I want to talk to you about the rest of this article. These stories are not only stories about anger and serious crimes, but also the past events of Hong Kong movies.
Anger and Serious Crime is a gangster film.
Over the years, Hong Kong film circles have made many gangster films (such as Chasing the Dragon, Acts of the Apostles, Anti-Drug 2, Heaven and Earth Society and Crime Scene).
Their Hong Kong director likes to make police films.
On the one hand, gangster films are more popular than other types of films, which is the production industry that Hong Kong films can win in the current predicament. ...
On the one hand, police films are the windows of filmmakers, who use their bodies to express or think about social conditions.
Seeing this, you may not understand that the police bandit film is a popcorn gunfight action film. How can it be related to society?
This is because, in Hong Kong's gangster films, many "gangster" conflicts are conflicts between "the poor and the rich", and the wealth gap is widening.
After experiencing the ups and downs of the exploited class in Hong Kong, the story was romanticized and filmed.
I am here to add a history of Hong Kong to help you understand the cultural structure of Hong Kong films.
The British rule in Hong Kong for a hundred years has made Hong Kong form its own special economic, political and cultural situation in the long-term "drifting".
After a long and turbulent life, pressure and hope are intertwined.
They long for the new world, but they are afraid of the uncertainty of life.
The whole Hong Kong society is in an "awkward" state.
At that time, Hong Kong films were trying to create a kind of psychological placebo, trying to appease the anxious hearts of Hong Kong people with short-term pleasure.
Hong Kong movies have been searching for a long time, but they haven't found their way.
Because, let the audience see, but not completely divorced from reality, let the audience produce an exciting force.
It was not until John Woo's The True Color of Heroes was released that Hong Kong movies seemed to find their way.
This direction is: "the brotherhood of China's traditional culture and the blending of Hongkong's modern urban culture"
The "Jianghu love" in Wu Yusen's gangster movies is a favorite theme of the audience. In the past, what Hong Kong people loved and sought after was the "Jianghu love" in traditional costume martial arts films.
Wu Yusen changed the time and space and living environment.
The once Jianghu town has become a street view of Hong Kong City: a Tang building symbolizing the survival dilemma of small people, an elevator symbolizing fate and choice, and a narrow alley symbolizing rascal culture.
The story of Jianghu children has not disappeared, but has continued in a different way. It's a bit like the movie black after World War II. Hong Kong gangster films are a response to the crisis (Anxiety of Returning to China in 1997, Financial Storm).
Under the black repression of its society, there are emotional catharsis and pressure release again and again. 1997 After the reunification, with the help of the mainland, Hong Kong gangster films gradually improved, and the aesthetic of black violence in the past changed into a deeper cultural connotation.
In Liu Weiqiang's Infernal Affairs in 2002, Chen Yongren and Liu Jianming's identities were interchanged, and in the end they could not determine who they were, which was precisely the confidence in their identities in the early days of the return.
It is the loss of colonial culture, Hong Kong native culture and China traditional culture to the spiritual world of Hong Kong people under the impact of collision.
Therefore, Infernal Affairs series is a symbol and metaphor that Hong Kong needs to confirm its identity after its return to the motherland.
It echoed the true context of Hong Kong society at that time.
If we follow the trend of the times, Hong Kong films may continue to be brilliant, but why did Hong Kong films decline immediately after losing the market in Taiwan Province Province? There are many reasons, the main reason is that Hong Kong was eliminated in the blockbuster era.
Before the mid-1990s, Southeast Asia and Taiwan Province Province of China were the most important markets for Hong Kong films. When doing business around the world, you have to take film making as a responsibility. The success of Hong Kong films at that time benefited from the new wave movement of Hong Kong films.
In this new wave of film movement, large and small companies have emerged. With the change of film form and the intensification of market competition, Shaw films chose conservatism in this movement, which was gradually replaced, and Hong Kong films entered the era of a hundred flowers blooming.
1, conquer overseas markets.
From 1985 to 1996, Bi Zhou Yi (Stephen Chow, Chow Yun Fat, Jackie Chan) almost monopolized the box office list. In these twelve years, the three superstars each won four box office titles.
The box office record of Hong Kong movies has also increased from 30 million in the past to 57 million. If inflation is included, it is equivalent to about 3 billion box office results today, and Hong Kong movies have reached the peak at that time.
It was the golden age of Hong Kong movies. Strong production ability, famous Asian actors and the same cultural background make Hong Kong films widely recognized in Malaysia, Singapore and Taiwan Province Province of China.
No matter how the outside world changes, Hong Kong films are always producing stories of public demand, not to mention that Hong Kong's economy was far ahead at that time, and the overseas film market and cultural ecology itself lagged behind Hong Kong, so it was easy to be conquered by Hong Kong films.
The indifference of Hong Kong films to the outside world made them unique, but as a result, Hong Kong films began to break away from global films, and 1984 American films that entered the low-cost era returned.
In fact, as early as 1 993, the Hollywood movie Jurassic Park made a box office of 920 million dollars, which made Hollywood manufacturers crazy. Hong Kong movies should have a sense of crisis. In that year, the annual box office of "Tang Bohu Dian Qiu Xiang" was 40 1.7 million. ...
Hong Kong filmmakers don't seem to take it to heart, but still go their own way ... 1995, Hong Kong filmmakers are laughing at why there is no such superstar as Stallone in Hollywood, the Hollywood film industry has been upgraded, and the era of science and technology has come.
1997, the American blockbuster Titanic set off a huge wave with a global box office of $2 1 100 million, officially announcing the arrival of the digital information era in Hollywood. At that time, the box office champion in Hong Kong was 45 million. ...
2. With the arrival of the digital information age in Hollywood, the era of Hong Kong movies is over.
Subsequently, Hollywood's special effects blockbusters were invincible, killing all the films in the world and occupying almost 80% of the global film market. Overseas markets that originally tended to be Hong Kong films flocked to more avant-garde Hollywood blockbusters.
Hong Kong films gradually lost their overseas film market, but it didn't matter at that time. They went their own way and made shoddy films until the financiers in Taiwan Province Province could not stand it any longer. have it both ways announced his withdrawal, and Hong Kong film talents woke up.
By the time I woke up, it was irreparable. Hollywood blockbusters have already swept the world. Hong Kong movies never seem to think that their most glorious era is actually the era when Hollywood traditional special effects blockbusters are declining.
The industrial upgrading in Hollywood and the internal movement in the country have loosened the control of Hollywood, the old overlord, on the world film market, and it is at this time that Hong Kong films have flourished.
The decline of Hong Kong movies declared the victory of Hollywood blockbusters. Hong Kong's domestic market has always been there, but their box office height has been occupied by Hollywood blockbusters. Hollywood's huge market gives him a hegemonic advantage.
After the rise of Hong Kong films in the mainland market, they have a chance to make a comeback. Most fans of Hong Kong films in the Mainland are loyal viewers of Hong Kong films today, but how do Hong Kong films do it? And shoot bad movies and stir-fry cold rice ....
Where are the good works? Where are the talents of Hong Kong films? In the final analysis, the brain drain of Hong Kong films is mainly due to the fact that in the golden age of Hong Kong films, there was no industrial system, only the achievements of small workshops.
The traditional craftsmen in the workshops are old and have no previous creative experience, while their apprentices have forgotten their original instinct in the generations. Some small workshops were simply lost after the death of Master No.1.. ....
With the death of Old Master Q, these young filmmakers don't understand the mainland audience, which has grown and changed rapidly in recent years. Liu Weiqiang, an older generation of Hong Kong directors, is also hard to be grounded, let alone a young Hong Kong director. ....
Hollywood's globalization strategy, rampant piracy, loss of overseas markets, shoddy construction, brain drain, lack of contact, and Hong Kong movies gradually fade out of public view, all of which have gone too far and gone crazy.
As mentioned above, the introduction of cultural structure,
Because Chen Musheng's "Anger, Serious Crime" caught up with a good time-
On the one hand, although the core of Angry Case is not high, it is the same as Shock Wave 2: it is the contradiction of the exploited class, but it has the spirit of a Hong Kong filmmaker.
It's an upgraded version of Shockwave 2, and the police image is much richer. There are also centrists, villains and decent people among the characters. ....
On the one hand, with the "centralized" narrative strategy of Hollywood blockbusters in the global strategy, their original stories have gradually dried up, and Hollywood technology is still improving, but there is no better narrative method.
In the past, there were two world movies that Hollywood could bully: one was the comprehensive suppression of technology. Second, culture is completely suppressed.
The reason for the present debacle is nothing more than that: the cultural values behind the film have been questioned, and the overall suppression of culture has disappeared. More and more viewers are beginning to doubt Hollywood's ideological values.
Chen Musheng caught up with the good opportunity, Hollywood blockbusters were no longer an obstacle, and the spirit of Hong Kong-made filmmakers was finally seen by the audience. This is not a matter of luck, but Chen Musheng's obsession with Hong Kong-made films brought him here.
The film Angry Case is good, not because it has so many complicated and brain-burning narratives in film technology, but because its action scenes are no longer B-level fun, but the reappearance of the spirit of Hong Kong movies.
It is the purest Hong Kong film, Jianghu culture, identity exploration, mental depression, self-redemption, and anti-bandit action. ...
It's just that I think it's a pity. It's purely the advantage of Hong Kong movies, but it's also the decline of Hong Kong movies. Hong Kong is not that Hong Kong now. Anger and serious crime have the madness of Hong Kong movies, but lack of fireworks.