Fortunately, we still have Xu Haofeng.

Fortunately, we also have the official account of Xu Haofeng WeChat: ikaiping.

065438+

Hidden on the Back of a Knife is Xu Haofeng's fourth film. This film has not been shown in China, and it has won the first Asian Bright Star Best Director Award for Xu Haofeng at the Berlin Film Festival on 20 17.

Hiding on the Knife's Back is a collection of Xu Haofeng's martial arts short stories. Hiding on the Knife's Back, a short story of the same name, tells the chivalrous story of "being trusted by others and being loyal to others". Let the samurai base themselves on the world, whether they are civil or military, not by knives but by faith. In Hiding on the Back of a Knife, Yuan Gu kept a festival, just like Gong Er in A Master, which made people cry.

Director Xu Haofeng's acceptance speech

Xu Haofeng has created a maverick Jianghu world through constant tempering, and many people are fascinated by his unique film expressive force. He described the conflict between the old times and the new society, as well as the strong shock brought by the collapse of the obsession with rites and music. He thinks calmly, but he is eager to let the audience know about the Wulin that is gradually forgotten by history-the collision of swords and guns, the contest between black and white. He turned dance into martial arts. In the film, he abandoned fancy flying skills and special effects, hit real meat with his fist, and hardened the horse with his fist. This unique image of Xu Wuxia makes people want to stop.

Perhaps many years ago, when 26-year-old Xu Haofeng quit his job and went home to study, his Jianghu was quietly born. He once said that after he resigned and went home, he was immersed in reading and writing in his study all day. This closed-door life lasted for eight years.

At home, he met with Li Zhongxuan and Hu Haiya. Li Zhongxuan, the second grandfather of Xu Haofeng, studied under three martial arts masters in the Republic of China. Hu Haiya is a descendant of Chinese immortals' health preserving technique, and he is proficient in medicine, Taoism and martial arts. This encounter is like the encounter between Boya and hippo chef. The two adventures made Xu Haofeng's two works in the future-Taoist Down the Mountain and Legend of the Wulin. The Legend of Wulin, which was dictated by Li Zhongxuan and edited by Xu Haofeng, caused a sensation as soon as it was published, and sold 30,000 copies in March. More importantly, Xu Haofeng also learned valuable experience and wisdom from the two old people.

Left "Legend of Wulin" and right "Taoist Down the Mountain"

For eight years, I was absorbed; Eight years later, the sword was drawn. After the accumulation of pure knowledge, he began to "explode". Become the favorite word expert of great directors Wong Kar-wai and Chen Kaige. He has written books, made movies and worked as a screenwriter ... every identity is the ultimate.

Looking at Xu Haofeng's prose is different from Gu Long's short and sharp novels, which are metaphorical and rigorous. He loves to write the historical customs and humanistic customs between the lines, so that a "chivalrous man" also has "selfish desires", and the reality is unparalleled. Coupled with the indispensable "beauty", the wind of the Republic of China and the martial arts atmosphere, he is unique.

Perhaps because he always writes about the past, Xu Haofeng has an ancient temperament, and his understanding of martial arts is different from that of many writers and directors today. He is particularly obsessed with "etiquette", "rules" and "morality", and he loves to describe these things that have collapsed now. Confucianism violates the law by writing, and chivalrous people prohibit it by force. There is nothing in the Tao, and the existence of chivalry is meaningful.

But in today's society, many people rewrite the rules of the game with money as the guide. The previous order has turned to dust in today's rules, and Xu Haofeng's attraction lies in his insistence on "martial arts" and "righteousness" in the old order. In his story, the real hardcore martial arts action is the beginning of attracting people to watch, and the "chivalry" buried deep in this skin is the core of sadness.

Just like the Bai Liu ape in The Arrow and the Ape of Bai Liu, he witnessed his sister being bullied, but he had to suppress his revenge because he was labeled as the "Ape of Bai Liu", entangled with two women, and was played with power ... All this made him crazy, and he couldn't even shoot the arrow of "upholding justice", but he was still using his own ability to solve the right and wrong in Wulin. As a strong man, he has the ability to kill each other, but he chose tolerance. He finally understood the value of "strength" and shot three arrows at the bully who bullied his sister without taking his life.

Xu Haofeng likes the godfather. The Godfather is about the collapse and disintegration of the traditional Italian gangster industry in the torrent of the times, and Xu Haofeng's martial arts of the Republic of China is just such a scene, and its glory is gradually fading away.

Hard kung fu, real kung fu, see yourself, see heaven and earth, see infinite beings. One of his screenwriters, a master, not only made Miss Gong Er, but also let the public gradually understand Xu Haofeng's exquisiteness. Three steps and one governance, five steps and one doorway, how to survive in troubled times, the way to treat others in the old society, and the turmoil in the background of the great era … these are the core values of his works.

Zhang Ziyi plays Gong Er in The Grandmaster.

Xu Haofeng's works are cinematic. This may be related to his director background and professors of Beijing Film Academy. In the book "Arrow and White Ape", he abandoned the romanticism in traditional martial arts movies and showed the real killing process with a solid narrative. And when the text is presented on the big screen, it is amazing. The duel between Bai Liu apes and Kuang Yimin, the bow and arrow of long-range attack, and the pike of close-range fight, under the lightning-fast editing, have caused great visual impact to the audience.

But film and writing are two different things after all. Xu Haofeng believes that former writers are gradually being brought into the film industry, and many writers in the 1970s and 1980s have become screenwriters, so the narrative style of novels must be in line with that of Hollywood. The so-called Hollywood narrative way is to try to figure out the audience's psychology and tease the public's emotions with skills. He thinks it's sad to be glib, but the audience likes it.

From left to right, there are traces of the enemy, arrows and white apes, and master.

However, Xu Haofeng kept the simplicity of "telling stories" as much as possible.

His films are being accepted by more and more people and become more and more interesting, from the trail of the enemy, the arrow and the white ape, Master, to the upcoming Hidden Behind the Knife. But what hasn't changed is the values embodied in these films, that is, watching yourself, watching the world and watching all beings.

See yourself clearly, that is, reconcile with yourself and know yourself; When you see heaven and earth, you know that you are a drop in the ocean and everything is gravel; Seeing all beings means doing your best to show empathy to others. This coincides with what Mr. Liang Shuming said: "People have been dealing with three kinds of relationships all their lives-the relationship between people and things; The relationship between people; The relationship between people and their own hearts. "

Some people in Xu Haofeng's family practice martial arts, and they have been exposed to martial arts since childhood. In the lost Wulin, he said that he didn't have time to learn "Twelve Styles" (a traditional routine of form and meaning formed by imitating the life forms and fighting skills of twelve animals). I can see that he has learned a lot of martial arts moves.

"Hard-core martial arts" need to show real kung fu in one or two trips. With one punch, people will vomit blood and fly a few meters away. This is the limit, and this is the "real kung fu". The owner of Zhu Huan Building wrote a biography of the swordsman in Shushan, and hundreds of people were killed. This is a weapon of mass destruction and needs "internal force", but what is internal force? Compared with Xu Haofeng's real kung fu, it seems a bit hollow.

Xu Haofeng's "real kung fu" is embodied in zero body and double body, zero special effects and zero prestige. The fighting scenes in Master are all hard battles with live ammunition, and the risk factor is high. Before filming, Liao Fan, who has passed the age of no doubt, even started to smell chickens and dance, and got up at 4 am every day for several months before filming to practice martial arts. Xu Haofeng's slapping drama has a special feature. All the tricks and routines in the movie should be put on the set. According to the actual situation of the venue, the identity and plot of the role, according to the boxing method, and the assistants set out tricks. So, when you look at it, there will be a kind of, "Yes! This is the way to make a move! " The feeling of dripping fun.

Master stills

Some people's works are sandwich biscuits, which are crisp and sweet and can satisfy their own desires; Some people's works are compressed biscuits, which are dense and nutritious and can resist hunger after eating. Xu Haofeng's works belong to the latter.

He has a deep research on martial arts, Buddhism, ancient Hinduism, Weiqi and Taoism, which is extremely rare.

His novel "Great Ritan City" is a novel that mixes Weiqi and Tantric, and it talks about the art of "the one who loses his position first fights": "People kill their own chess in exchange for the other party's initiative."

Others watched "Green Snake" and couldn't keep their eyes open to the enchanting beauty of Maggie Cheung, Joey Wong. Instead, he relished all the details in the film: "Fahai appeared, practiced the Dragon Method in Galilee, practiced acrobatics by the white snake, and printed Buddha's handprints."

Green snake stills

As for Taoism, as early as 1998, Xu Haofeng, who graduated from university, made a documentary about Taoism. The Taoist Down the Mountain combines Xu Haofeng's understanding of Taoism under the background of the Republic of China and shows the suffering of Taoism itself during the Republic of China.

Born in a scholarly family in 2003, he was modest and prudent in his family and eventually became a late bloomer. Xu Haofeng is usually modest and courteous. Facing the media's provocative question before the release of "The Taoist Down the Mountain", "Do you think Chen Kaige can make this film?" He replied cautiously, "It's not appropriate for me to say this." This is my colleague. They are all making martial arts movies. Interrupting out of thin air is out of line and inappropriate.

Xu Haofeng is on the set.

People who have seen Xu Haofeng say that he is tall, with a round face and a round nose. He is a man and a woman, rich and powerful. When he spoke, he was unhurried and slow. When he left, he took the initiative to bow and leave, acting like an old-school scholar.

Xu Haofeng said in the preface of Hiding on the Back of a Knife: "Knife is a defensive skill, and the use of the back of a knife is more important than the blade, because people are behind the back of a knife. Martial arts novels are knife backs. Fortunately, there is such a hiding place. "

Luckily, we have Xu Haofeng.

Open the screen and reflect the picture.

Terminal entertainment observer

Wechat id: ikaiping

Editor: Drunk Flower Yin

Contact us, :youfish888@qq.com.

Literature and Art Lian Meng We will eventually change the direction of the trend.