Kongshan Yu Ling
Director: Hu Jinquan
Hu Jinquan's martial arts films are not only Zen, but also the soul of China culture. Lianyin music is Hunan Bangzi. The fame of "Empty Mountain Spirit Rain" is not as big as that of "Woman". In the introduction of the title, it is vaguely mentioned that "this film is not quite the same as the martial arts films made by Hu Jinquan in the past", and no suitable statement can be found. Some film critics are quite rude, pointing out that "Empty Mountain Spirit Rain" pays too much attention to the meaning of "Zen", and the director seems to want to sublimate it to the realm of philosophical films. Too many profound artistic conception, slow plot and even rhythm only have the opposite effect, or the director is too flamboyant-when it comes to flamboyant skills, I suddenly think of tornado's Legend of 1900, which is a bad review for the professionals of this film, but its business is sensational. "Empty Mountain Spirit Rain" is by no means commercial, not to mention its small popularity. Even if I put it in the cinema, I can definitely sleep half of the people-but I am still deeply excited and excited.
Rain under an Empty Mountain has a simple plot and clear clues. As soon as the character Tyumen appeared, I felt that there was no suspense in the abbot's dispute, even though not all the three disciples of the old abbot were greedy for money and power. On the one hand, there is no suspense in the plot of early movies, and it is easy to guess the ending; On the other hand, Zen is a hard thing to understand, which often contains deep meanings that ordinary people can't find through appearances.
2
A trace of Zen
Hu Jinquan's classic works include Hong Kong's second new martial arts film "Come and have a drink with me" and Longmen Inn, which was filmed after going to Taiwan Province Province. However, his masterpiece is Woman, which has been imitated countless times by later generations. Woman tells the story of escape, revenge and becoming a monk after being chased by a traitor eunuch. The film is full of martial arts scenes showing "precise editing" and "scene scheduling". Quick editing and omitted editing are the hallmarks of Hu Jinquan. In The Battle of the Bamboo Forest, Hu Jinquan didn't use easy shooting methods such as slow shooting and reverse shooting, but let her jump on the bed a few times, and then connect the extremely short shots, so that Woman won the prize of the Advanced Film Technology Committee of Cannes Film Festival with 1975. In the last years of Woman Xia, Hu Jinquan entered Zen, ending with the Zen philosophy of putting down the butcher's knife and becoming a Buddha, and entered a world of religious redemption from the pure martial arts world. Through careful artistic textual research, Hu Jinquan emphasized the role design of abstract chivalrous spirit, interwoven the spirit of Taoism's birth and Confucianism's drowning in the world with Su Shi's thought, and promoted martial arts films to the art of literati, bringing them into the halls of art, philosophy and even history.
three
crouching tiger and hidden dragon
Director: Ang Lee
Literati directors occasionally shoot martial arts films, which are often more poetic. Crouching Tiger, Hidden Dragon broke the old routine in the field of martial arts films, and the film has unprecedented innovations in many aspects. The martial arts world created by it is magnificent, but at the micro level, the set, props and shapes of the film are all Ang Lee's fine admission ticket, which requires to restore the true face. In terms of martial arts design, this film is both realistic and freehand. In a roof chase between Yang Ziqiong and Zhang Ziyi, Ang Lee asked to shoot a light martial arts drama from a overlooking angle, so that the audience could see the process of the characters getting up, landing and flying, and the lens should be as eye-level as possible. The speed of martial arts is slower than that of ordinary Hong Kong-made martial arts films, and both sides should touch each other during the fighting. A bamboo forest scene, to shoot the feeling of "love". The lens is elegant, but does not shake. The swaying change of light and shadow of bamboo forest not only provides dazzling visual dynamic effect, but also produces a romantic and swaying poetry.
The biggest breakthrough of the film is to inject humanistic philosophy into martial arts films. The existence of the martial arts world is to find an outlet for China people's repression in reality. Among them, Crouching Tiger, Hidden Dragon is the "Dragon Tiger" in Taoist mouth, Jade Jiaolong represents the suppressed "Hidden Dragon", and Luo Xiaohu is a relatively free "Crouching Tiger". Taoism is the spiritual source of Crouching Tiger, Hidden Dragon, which was initiated by Li Mubai. In the past, martial arts films were all about thugs, while Crouching Tiger, Hidden Dragon was about people's stories, focusing on artistic conception and characters' inner feelings. Ang Lee's innovations in various aspects have created the texture and taste of martial arts films, and promoted the quality and culture of China's martial arts films.
four
ashes of time
Director: Wong Kar-wai
This is the least like a martial arts film. The film has no obvious connection, but is made up of broken time paragraphs, and there is no clear contradiction and standard between good and evil, which collapses the traditional martial arts film model. In the design of martial arts, the film combines various shooting methods. Murong Yan and Murong Yan are the shooting methods of supernatural chivalrous films, and Sunset Warrior is Japanese style. As for Hong Qi's fighting, it was purely Wong Kar-wai-style. Sammo Hung was clear and definite when designing the movements, but after Wong Kar-wai stole the box seal and fisheye glasses, it became blurred, but the effect was amazing. This film won the special prize for photography at Venice Film Festival because it captured the desert scenery like a dream. Proud and selfish evil spirits, jealous and inferior Du, although in the desert, their hearts are still alienated and lonely in the modern city of the 1990s. "Time has passed" borrows characters from Jin Yong's novels, puts on the coat of martial arts films, and tells the inner loneliness and emotional desolation of contemporary people.
five
Swordsman 2: Dong Fangbubai
Director: Cheng Xiaodong
Generally speaking, a series of movies have a feature, that is, "one with high momentum will be defeated and three will be exhausted." Dong Fangbubai is one of the few films that can surpass its predecessor. First of all, this film reproduces the magnificent martial arts world written by Jin Yong with wonderful martial arts design. The knight-errant is like the wind, drawing an arc, with beautiful shape and flowing elegance. In addition to the shock wave of breaking the golden thread and Dong Fangbubai's embroidered needle stunt, Ling Huchong's nine swords in the war of solitude are even more vivid, and Cheng Xiaodong shoots backward, realizing the effect of the combination of man and sword.
Behind the hot and wonderful fighting scene in the film is actually a tragic love story. It is very contradictory for Brigitte Lin to play Dong Fangbubai, who has changed from a man to a woman, because it is necessary to show both his political ambitions and his feelings. The film portrays Dong Fangbubai, who has only a few pages in the original work, as a very unique role in the history of Hong Kong movies. This kind of image is hard to distinguish between men and women and confuses the concept of gender, which is the origin of a large number of cross-dressing styles in later follow-up films.
six
Swordsman in Shuangqi Town
Director: He Ping
As a unique domestic martial arts film, the romantic theme and the ultimate expression make Knight of the Double Enlightenment become a world-famous China martial arts film. In fact, the knights of Shuangqi Town have an anti-power and anti-adult proposition. Its actual content is about the growth of a child. Be good at using the knife, but not familiar with the world. Suddenly, he was faced with a catastrophic disaster, and he wanted to escape. The villagers refused to let him escape because they were afraid of being dragged into trouble. He turned to the great warrior Sha Li Fei for help, only to find that Sha Li Fei was just an incompetent and shameless villain. Finally, facing the weakness and hegemony of the adult world and the power world, the children finally grew up, took courage and won the battle. This is a child's coming-of-age ceremony and a compliment to innocence.
seven
White-haired bride
Director: Yu Rentai
Bride with white hair is another monument of the new martial arts film. With Bao's unique image style, Liang Yusheng's original freehand brushwork style, by going up one flight of stairs, has reached an unparalleled level. Yu Rentai's film style labeled bride with white hair as cold or gloomy. At the beginning, the lonely and unique figure on the Lotus Peak in Zhuo Yihang merged with the snow-capped glacier Saussurea involucrata and grew reversely. It is so desolate and sad. Noisy war horses, dilapidated cities, mottled ancient buddhas, and the chill is spreading more and more because of cool colors. And a scene of Zhuo Yihang and Lotus in the water, with the wanton use of warm colors and colorful close-ups of slow mirrors, contrasts with the desolation in troubled times, completely setting off the beauty of a secluded paradise and the lingering love. Under the package photography and clothing packaging, with gorgeous and gloomy visual effects, Zhuo Yihang's cynical, elegant and Leng Yan's different men and women are displayed, creating a dazzling martial arts world. The white-haired witch is like a broken sword waving in troubled times. With its scarred body, it creates a cold and gloomy visual effect and spells out a gorgeous and changeable martial arts fable.
eight
the killer clans
Director: Chu Yuan
From 1976- 1982, Chu Yuan adapted the novels of Gu Long successively, and made 19 exotic martial arts films. These films are very good at the box office in Taiwan Province, making Gu Long, Tommy Tam and Chu Yuan very popular. Meteor butterfly sword, the pioneering work of this trend, is a collection of suspense and action. This film established the style of Chu Yuan Gulong's films. First, the plot twists and turns suspense, creating a martial arts world full of intrigue, power and money desire; Second, sentimental love and romantic friendship, in a virtual world of rivers and lakes, interpret the love and hate of modern people; The third is to play neatly, reduce the violent color, and pay attention to the graceful and elegant movements; Fourth, beautiful and magnificent scenery. By shooting in Shaw Studio, Chu Yuan created the beauty of sunset Leng Yue, small bridges and flowing water, red maple and Bai Liu, pavilions and pavilions, and built beautiful and ethereal rivers and lakes. In a word, Chu Yuan combined China's romance with western reasoning, and developed an important branch of martial arts movies with strange feeling.
nine
New Dragon Gate Inn
Director: Li Huimin
The New Longmen Inn, co-produced by Hong Kong and the mainland, is the first film shot in the yellow sand of the northwest desert, which breaks through the limitation of the narrow geographical area of Hong Kong films. Compared with the old version of Hu Jinquan, the new Longmen Inn adds a lot of relaxed atmosphere of laughing, cursing and poking fun at the bright moon, dispels the dignified, serious and masculine style of the old version, and turns the elegant dust of the old version into secular slang. The film has a fast-paced, intense martial arts style, especially in the final battle, the villain Cao Shaoqin was skinny by a little cook, and the picture was creepy. The film depicts the classic role of coquettish and pungent gold inlaid with jade. She lives not for chivalry, but for emotion, which is a rare character type in martial arts films. The new Longmen Inn not only has the old version of chivalry, but also aggravates the part of friendship, which is the best interpretation of chivalry and tenderness.
10
Divine state
Directors: Hu Jinquan, Tsui Hark, Cheng Xiaodong and Li Huimin.
"the legendary swordsman" was filmed from 1988 to 1990, and directed by four directors. Hu Jinquan wrote the costumes and lines about the Ming Dynasty in the film. Hu Jinquan's style is simple and romantic, but this film was later turned into a political fable by Tsui Hark. One of the reasons for the success of this film is that the swordsmanship and martial arts in the original work have been intuitively and dynamically displayed on the screen. The film is full of unconstrained martial arts design, changeable shots and clips. Under this rapid appearance, the legendary swordsman is actually a fable about the nature of corruption in bureaucratic society. In order to win the sunflower collection, only the powerful will not pay any moral price, while the weak and oppressed will have more moral principles. What Tsui Hark wants to shoot is the broad mind and broad vision of martial arts characters. The artistic conception of the film also conforms to the elegant and magnificent realm in the original work. The classic is Laughing at the Sea, which is the perfect creation of the legendary swordsman, a piano and flute ensemble written by Jin Yong. After the film was released, it triggered the third surging wave of Hong Kong costume martial arts films.