What did Tony Leung Chiu Wai do at the end of Leslie Cheung's The True Story of Teddy Boy?

This film describes the inner world of a group of arrogant and rebellious young people, full of nostalgia. The six protagonists are chasing after each other in several tangled relationships between men and women, and everyone is playing tricks on fate. The film is directed by Du Kefeng, who uses avant-garde and surreal shooting techniques to show their colorful image characteristics and truly reproduce the living environment and social conditions of ordinary young people in Hong Kong. In this environment, they are eager to find their own value and position, struggling and wandering in setbacks.

This film was shot at 199 1, which can be said to be Wong Kar-wai's masterpiece of reaching the peak of literary films. Leslie Cheung's acting in this film has also reached a new height. At that time, the joining of many top stars in Hong Kong created a luxurious performance lineup of the film, and also won five awards, namely, Best Film, Best Director, Best Actor, Best Photography and Best Art, at the Hong Kong Academy Awards that year, with infinite scenery.

Although the narrative style of the film is not very fancy, Wong Kar-wai's usual voiceover monologue appears, and his usual concerns also involve rootless fate, emotional alienation, loneliness, forgetfulness, rejection and fear of rejection. Du Kefeng's photography style is relatively simple, but it also has its own characteristics: there are many indoor scenes and night scenes, and the lights are cold and dark. In the last scene, Tony Leung Chiu Wai appeared as a gambler to comb his hair and end the film, which caused great controversy in that year.

Some people say that Wong Kar-wai's movies from now on are actually telling the same story, whether it's "Time has passed", "In the Mood for Love" or "2046", they are actually the continuation of "The True Story of Teddy Boy".

Wong Kar-wai's In the Mood for Love

199065438+February, The True Story of Teddy Boy was released, which produced an important name for the Hong Kong film industry in the 1990s-Wong Kar-wai. Ten years have passed in an instant. Over the years, the word "Wong Kar-wai" has developed into a brand, an adjective, a genre, and a movie impression (including positive and negative, of course). In 2000, there was another song "In the Mood for Love", which echoed the feelings of A Fei 10 years ago. Is it a coincidence? Or director Wang's heart didn't move, just our heart.

If there are two extremes in the Hong Kong film industry, then Wong Kar-wai certainly represents one of them. At one time, his works were the places where academic circles and cultural circles debated each other, and they were very lively. As his achievements were gradually recognized by the international community, this discussion cooled down and the royalists continued without hesitation. Others are used to Wong Kar-wai, so they stay put.

Do fans over the age of 25 still remember how the release of 1990 "The True Story of Teddy Boy" was a sensation? It was an important Christmas schedule, and two cinemas opened at the same time, which shocked Stephen Chow's Gambler (I wonder if it can be regarded as the only official support in Wong Kar-wai, Jing Wong? ), the momentum is no different. At that time, it was well received by dealers and audiences, but everyone didn't know it was an art film. Because of the criminal record, the unprecedented big-name combination and the intensive publicity of producer Deng Guangrong, The True Story of Teddy Boy became a movie event in advance. In the end, The True Story of Teddy Boy was only shown for 12 days, but it was stopped because of the poor box office, which was not only far from the fate of The Gambler in the same period, but also made the sequel that was originally planned to start shooting in the foreseeable future, among which Tony Leung Chiu Wai's role preview became one of the biggest mysteries in film history.

This dramatic development made Wong Kar-wai famous overnight. Of course, Wong Kar-wai didn't come out for no reason. He was an elite trained by the richest film and television industry in the 1980s. He was a student in the first training course of 198 1 Wireless, and began to write screenplays in the second year. You can find his co-edited names in many commercial films, such as Lucky Man, Final Victory and Ghost Hall. From 65438 to 0988, he wrote and directed Tears, which was well received at the box office. Therefore, he had the opportunity to shoot the more famous and funded True Story of Teddy Boy, and then left an important page in the 1990s.

One feature of Wong Kar-wai's films is that he is good at squeezing the actor's characteristics familiar to the audience, so some people will break up when filming his plays, and some people will reach new heights because of his plays. Andy Lau was an extreme attempt, filming Tears Running, while Wong Kar-wai used the characteristics of Andy Lau and then filmed The Story of Teddy Boy, but put down the characteristics of Andy Lau. It is conceivable that Andy Lau was at a loss. His later Forever is to make up for the regret of Teddy Boy. )

Tony Leung Chiu Wai worked with him five times, and it was difficult to adapt at first. After checking the records, when he gave an interview to Chongqing Forest, he said, "I don't know how to end it, and I don't read the script very much. I will do whatever the director tells me to do. " Wong Kar-wai responded: "Wei Zi just needs to do what I want." (Film Biweekly No.397), I feel a little confused by the actors. But by the time of In the Mood for Love, both he and Maggie Cheung knew how to shoot Wong Kar-wai's play, and they were easily manipulated by Wong Kar-wai. Distort the story structure

Wong Kar-wai said that he doesn't like to let the audience guess the next step, so his filming never starts from the plot, but from the structure, so his second characteristic is that the story is not strong. Every actor who has worked with him won't know the ending of the film before watching the feature film, because he will make countless movies, and how to develop it will only be in the mind of the director or editor, and sometimes there will even be multiple versions of Chongqing Forest.

Another feature of Wong Kar-wai is that the idea of landscape use is very special, and most of them can represent a certain feature of Hong Kong. For example, the Queen's Restaurant in The True Story of Teddy Boy, the chungking mansions and Mid-Levels Elevator in Chongqing Forest, the Stadium in fallen angels, Kwun Tong Subway Station and Hotel 369, and the Golden Bird Restaurant in In the Mood for Love have rediscovered many interesting places for fans.

Past lives in The True Story of Teddy Boy

Tony Leung Chiu Wai's final appearance in The True Story of Teddy Boy is symbolic. The bird with no feet found a resting place here in Tony Leung Chiu Wai.

In the 1960s, the elegance and decadence of A Fei (or) and immortal aristocrats longed for the complete decadence of civilians here in Tony Leung Chiu Wai.

Teddy boy finally stopped feeling inexplicably disappointed with his distant mother and hometown, stopped dancing on the balcony, and stopped pretending to stick to his bottom line indifferently.

Teddy boy is ready to go with great interest, jumping for the coming colorful night. Although he has meticulously waxed his head and carefully stuffed a handkerchief into his suit pocket, you can still hear him secretly whistling and snickering. This is a carnival night for civilians. Since then, there has been no romantic nostalgia and melancholy for returning home. Nihilism conquered this immortal flying heart, and he happily embraced this night that belongs to nothingness.

After the sixties, Teddy boy (Tony Leung Chiu Wai) would not dance in the wind like Leslie Cheung, look at the mirror and feel sorry for himself, and design actions for Leslie Cheung, so he had to show his seductive figure by twisting his waist and buttock, giving off a sweet and suffocating smell-that's not because Teddy boy in the sixties brought a little affectation, sadness and self-pity in our imagination, just like the clear and disappointed voice of the Beatles.

The sixties is a symbol, the last light of revolutionary passion and romanticism, and the last gaze of the world before it falls into the night. The proletarian revolutionary masses dug their own graves with their own hands, and the world history ended in the street fighting in Paris in the 1960s, in the drugs and tobacco of hippies on American western highways, and in the jungle of South Vietnam where wet poison spread. A Fei in Hong Kong has no chance to experience history, but he can still breathe the restless sea breeze blowing from the Pacific Ocean, fly away alone, hold his head high and reject civic culture. From then on, there are really no words like nobility and revolution in the dictionary.

If Leslie Cheung is a powder hiding behind a gorgeous coat, then Tony Leung Chiu Wai is sad but not lascivious, with a touch of tobacco flavor and clean soap fragrance. Tony Leung Chiu Wai don't have to smile. All he has to do is stand in the corner in a unchanging white shirt, and then smoke a cigarette at the corner of his mouth to make the air smell of him.

Tony Leung Chiu Wai is self but not narcissistic. There is no aristocratic pride in his blood. You know that's how he grew up. He doesn't write a lot of inappropriate things on his face like Leslie Cheung, and his civilian status is as clear as his white shirt. You can feel that he is a little depressed, but it is difficult for you to figure out what he is depressed about.

Tony Leung Chiu Wai's decadence is neither arrogant nor impetuous. Your heart sank when he was deeply immersed in the sofa. When he stares at you with his eyes, you can see the loneliness and loneliness in his eyes-the detachment and trance of "living elsewhere" especially makes you move, but you know that he is just wandering and helpless, but he is not willing to live in Cao Cao's heart.

Tony Leung Chiu Wai is a real person. What is a country? A state is the scale and posture of your body and eyes.

People in the state are really pure and have no impurities. They look at the events and time of the whole world with sunglasses of a single color, so there is no time and events in the world of a state person, and his world is a world where all events and time have been erased. In this state, man and nature are one, and God and form are one. Just like Tony Leung Chiu Wai in "The Dark Flower", he smashed the suspect's right hand with a good wine bottle when he was driving from door to door on Macau Avenue to find a killer, once, once and again. Actually, it doesn't matter what he throws. What's important is that no matter what he throws, he will end up throwing himself, his own state.

Tony Leung Chiu Wai is a flying knife in Li Xunhuan's hand, and no one has ever seen it. But everyone in the Jianghu knows that Xiao Li's flying knife is more lethal than Teddy's sword.

Leslie Cheung is a long sword in teddy boy's hand, sharp but not touching. Watching him is like watching a play. You know his sincerity, but you also know his indifference and posturing. What he loves is the speed of leaving the world-self-destruction.

So Tony Leung Chiu Wai is us and Leslie Cheung is them.

In their world, Leslie Cheung is always just a role on the stage, romanticizing the world in life, beautiful, pure and ugly.

Wong Kar-wai didn't make a sequel to The Story of Teddy Boy, and Tony Leung Chiu Wai's last appearance in The Story of Teddy Boy ended without beginning. In fact, Wong Kar-wai doesn't need to make a sequel, because the punk in the sequel lives in this world, because our world is the world in the punk sequel.