Introduction and details of the Great Samsara

Producer credits producer Zhong Yuan Zhong Ling director, Li Hsing, assistant director Bai Zheng, Liu, Cao Yan, Jiesin Cai, Huang Yushan, Lai Mingtang, Lu Jikun, Li Jiushou screenwriter Zhang Yongxiang photographer Zanting Lin, Yeh-hsing Chou score Luo Ming Dow editor Zhou Daochun, Lin Shanliang props Pan Yilai, Li Da. Feng Kang New Art Director Art Design Action Guidance Fashion Design Su Sulan, Shu and Luo Xiguang Visual Effects Lighting Recording King Audience Seats Wei Mingfu, Gu Zheng Wen and Lu Baoquan Live Notes Song Aihua (No.1), Wang Yong (No.2) and Gao Lijin (No.3)? Music director: Luo

Hsueh-fen Peng decorated the triangle "Great Samsara"-Hsueh-fen Peng? Producer: Hsiang-Hsiung Liao

? Planner: Jiang

? Executive producer: Li Wuhao

? Producer: Chen Yongsheng; Kang daquan; Qin Guoqiang

? Planning: Yang Wengan

? Photography Assistant: Yan Hongyu; Lin Zhensheng; Lai Guozhen

? Lighting Assistant: Shi Weili; Wu defu; Guo Zhiyong

? Dressing: Shen Buhai

Screenshot of the film-the first 1? Stills: Yang Hong; Cai zhanghang

? Effect: Wang Shili

? Artist: Chen Shoufu; Ma Wenxing

? Makeup: gold; Suzhen Liao

? Field affairs: Ding; Zhang Deshun

? Director of Pingju: Li Yurong (second year); Xia Yuanzeng (2)

? Dance director: Lin Xiuxia (third); Jiang Yuqi (Third)

Cast, roles, actor reviews, Han, introduction? : the first person

Brief introduction of Lu Zhenyi and Shih Chun? : the first person

Brief introduction of Feng Rui and Jiang Houren? : the first person

Meng, introduction? : the second person said

Brief introduction of Miao Huatang Shih Chun? : the second person said

Introduction of Ma and Jiang Houren? : the second person said

Brief introduction of Lu Manfen and Hsueh-fen Peng? : the third person

Introduction of Awan Shi Jun? : the third person

Yang Qiusheng and Jiang Houren introduced? : the third person

Co-starring:

Screenshot of the film-III: Jian Cao; Li; Han Xue; Junior undergraduate; Wei Wenmin; Zhang Shiping; Ye Zhaoxu; plum

Second: Bihui Fu; Yanwu; Hui Louchen; Guo Ping; Jiang Qingfeng; Xie Zhongmou; Wan Jie; Hu Guang; Fu Juan; Andy; Zhang Baoshan; Zhu Shikui; Yang Lie; Xia yuanzeng; Faye Wong

Three: Wei; Zhang Xiaoping; Xie Pingnan; Lin Xiuxia; Jiang Yuqi

Han () and the rebel leader Feng Rui have been engaged since childhood. Although my father was the governor, Feng Rui was involved in prison and agreed. Mei was forced to go to Beijing to marry Ma Dudu and took the opportunity to assassinate Ma Dudu. Lu Zhenyi conspired to betray Maddox.

Lu Zhenyi (Shih Chun) is a security guard in Beizhen, who is good at reconnaissance and imprisonment. He is superb in fencing and eccentric in character, but extremely clever. Not only ordinary people are afraid of snakes and scorpions, but even court officials are terrified. Because of mental reasons, he became impotent and became an abnormal person. He was loyal to the court, but later turned to the rebels.

Rebel leader Feng Rui (Jiang Houren). My father is the leader of Mandarin, and he is famous for his honesty. Later, it was framed by the Royal Guards.

Plot 1: Ming Dynasty in China, when there were two spy organizations: Dongchang and Wei Jinyi. Lu Zhen, the satrap of Beizhen, received an order from Ma Shun, the governor of Guangdong and Guangxi, and Han Yong's daughter went to Beijing to marry the horse. Mei and Feng Rui, two similar rebel leaders, were afraid of Ma Dudu's power and had no choice but to agree to get married. Lu Zhenyi conspired to betray Ma DuDu and wanted to marry Xue Mei to seize his father's military power, but his teacher Lu Zizhen caught him. Liu Zizhen laid down his life to hit Lu Zhenyi hard. When Feng Rui arrived, Xue Mei killed Feng Rui by mistake and Lu Zhenyi stabbed Xue Mei.

The youth class of Erlian is not well managed and faces the crisis of placement. The squad leader Miao Huatang turned to Ma for help. Meng Hualing, sister of Ma and Miao Huatang, fell in love at first sight. Miao Huatang's eyes are very painful. Mother Ma is old-fashioned and won't let Bai and Ling associate. Bai Jing was kicked out of the house because of Meng Hualing. Hua Ling was very moved and decided to stay with Bai after the performance. Unexpectedly, Miao Huatang killed Hua Ling.

The third fisherman, Yang Qiusheng, lived alone with his brother, Awans, and always listened to his brother's words. The cheerful Lumanfen visited with the dance company, got to know Huang Qiusheng and got along well. Teacher Awan believes in ghosts and gods and doesn't let students associate with Finland. Awan division died unexpectedly, and Anthony wong decided to inherit his brother's position as a mage. Finn left disappointed. A few years later, Anthony wong appeared in front of Finn.

From ancient times, the early years of the Republic of China to modern times, from aristocrats, troupes to ordinary people, three generations of reincarnation love gathered Hsueh-fen Peng, Jiang Houren and Shih Chun, who were all the rage that year, and described the cross-world love tragedy of two men and one woman. Hu Jinquan directed for the first time and came to the Ming Dynasty where he was good at it. The brave captain of the Royal Guards escorted the governor's daughter on the wedding journey, but she was involved in a plot of love and revenge between her and the rebel leader. A fish-gut sword runs through the infatuation and love of the three people, as well as the hatred of the family and the country.

Hu Jinquan, a film critic, has been famous in the film industry for many years, and there are many articles discussing his works, such as Come and Have a Drink with me, Longmen Inn, Chivalrous Woman, Legend of Mountain Living, Empty Mountain and Spiritual Rain. Perhaps both "Samsara I" (the second and third parts are directed by Li Hsing and Bai respectively) and "Sorrow and Sorrow" are short films, which makes these two films seldom mentioned. The First Life of Samsara occupies a special position in Hu Dao's film resume, because it is adapted from his wife Chung Ling's short story of the same name. How he understood and adapted his wife's novel into a movie is worth discussing.

The film Great Samsara, directed by Hu in White Paper (I), belongs to the first novel Great Samsara, and has only three roles: Feiying, Yuer and Golden Childe, while the film Great Samsara has roles such as (,), Han (,) and Feng Rui (Jiang Houren). This character in the movie has the shadow of the flying eagle in the novel. Both of them want to catch the heroine who doesn't love him but has another love: Yu 'er in the novel and Han in the movie, and she is also a variation of each other.

The characters in movies and novels are different, and the adaptation of novels into movie stories has changed a lot. With more characters, the story of the movie is naturally more complicated than the novel. The biggest change in adapting a novel into a film is from the first person to the omniscient perspective, which gives Hu Dao more room to create his own film style.

From the perspective of the first person "I" (the flying eagle), the story tells that he killed Jin Gongzi in order to eradicate his rival in love, hoping to monopolize her. The author replaced the narrator in the first-person novel. Only by portraying the mentality of other characters with dialogues and expressions can Yuer be the projection of "I" (the flying eagle) desire, and readers can see how Yuer is attracted from the perspective of the flying eagle. There is a passage in the novel about the first time a flying eagle saw her:

The poster shows a small watch walking along the field. Just then, the maid lifted the curtain and a green jade girl came into the hall. My eyes lit up. I have never seen such a delicate woman. Her black eyes stared at the moth on the window frame, then shot at me, looked me up and down, and then smiled like a flower with sapphire color. This flower looks familiar. Maybe she has seen it in Shang Huashi, but she can't name it. A fragrant smell of flowers came to my nostrils, and my insides were shaking. Until that moment, I didn't know what "the taste of ecstasy" was. I once lived in vain. 」

The omniscient perspective endows the film with more narrative space.

From the narrative perspective of the flying eagle, the novel should be the protagonist, but in fact, the author takes readers to see her from the perspective of the flying eagle. She is the soul of the novel. Although she is as beautiful as a flower in the eyes of an eagle, more importantly, she is not only beautiful, but also smart and observant. She noticed that there was a drop of water on the tip of the sword when the eagle was washing it. According to the water drops, she judged that Kim Jong-il was killed by a flying eagle. So she pretended to make out with the eagle to lower his guard, and then secretly stabbed him with a dagger to avenge the golden boy.

Related reports tell stories from an omniscient perspective. The narrator from the omniscient perspective can be a film storyteller. He does not belong to any role in the story, but is independent from the story world. The advantage of this is that the narrator can freely enter the consciousness of any role and describe the experience, inner world and emotions of each role, which is conducive to directing the behavior of different roles. Because of this, Hu Dao can describe the great reincarnation of He Han very deeply and stereoscopically, and the role of Han is more different from the women in Hu Dao's previous works.

The movie protagonist is more vivid than the novel protagonist.

At the beginning of the first life of Great Samsara, a storyteller appeared. He introduced the background and security of the story, followed by Han and Feng Rui, who were also the characters guided by the storyteller through the lens. Although when Lu Zhenyi tells a story, the storyteller is a man with high martial arts skills and strange personality and behavior, Hu Dao also thinks that he is mentally abnormal, psychopathic and incompetent in his interview. Because of the omniscient perspective, the film portrays Lu Zhenyi's character more comprehensively, and we know more about his background. In particular, the film implies that he was originally a member of the Rebel Army (called the leader of the Rebel Army Lu Zizhen (Jian Cao) as a teacher biography), and he wanted to defraud Lu Zizhen to hand over the name and contact password of the leader of the Rebel Army, and exchange his head for a reward. In addition, he wants to marry Han, which is actually to cheat Han's father's military strength and increase his own strength. Lu Zhenyi is more scheming and sinister than his prototype flying eagle.

Hu Dao once said that "movies can express meaning with images". So, what does Han mean in this movie? The female images in Hu Dao's lens are ever-changing and colorful. Golden swallow in Come and Have a Drink with me, Yang Huizhen in Woman, Zhu Hui in Longmen Inn, the heartthrob in The Storm of the Spring Pavilion, and Zhuang and Le Niang in The Legend of Mountain Residence all have their own personalities. He will not confine female characters and images to a fixed framework. The film portrays Han as an assassin from the perspective of an omniscient narrator, which endows her with a female image different from Hu's other films.

Although the images of some OK-ruler assassins shot by the film studio in "Big Samsara II" are brave and masculine, she wears a long gown of women in the film, with a gentle appearance, without wearing the bunt and hat of the heroine or chivalrous woman in Longmen Inn, and is always the daughter of powerful people, reflecting that she also has the mental outlook of a traditional woman who obeys her father at home in ancient society.

The unique image of female assassin

Han and Feng Rui are childhood friends and have long been engaged. In the end, they broke off their engagement and were betrothed to Ma Dudu, the general of the Royal Guards, on the orders of their father. As the daughter of the Governor's Office, she is definitely worthy of General Royal Guards, which fully meets the requirements of traditional society. She is willing to marry Ma Dudu, not because she doesn't love Feng Rui, but because she left in order not to bring more trouble to Feng Rui. More importantly, she wants to take this opportunity to assassinate Ma Dudu. Unfortunately, she was killed by Lu Zhenyi before she married Ma Dudu, but she killed Feng Rui by mistake with the fishbowl sword that originally attacked Lu Zhenyi.

20 12 "Nonsense: A New Biography of Hu Jinquan's Martial Arts" She used Zhuan Xu's Fishbone Sword as a weapon to assassinate Wu Wangliao, which was light and sharp, making it convenient for her to assassinate the commander-in-chief. At the same time, Fishbone implies that she has the spirit of devoting herself to all kinds of death. Han has both the virtues of traditional women and the integrity of ancient assassins, and is a unique female role in Hu Dao's films.

abstract

Film is the art of light and shadow expressing information through the flow of time, and the length of time absolutely affects the content to be expressed in the film. Generally, feature films range from one and a half hours to three hours, which is usually enough for the director to tell a story related to the past and the present, and also to describe people and scenery. The shorter the film time, the smaller the space for directors to tell stories. It takes less than an hour and a half to tell a story that can only be finished in an hour and a half or even two hours, which tests the director's storytelling ability. At the level of storytelling, it is not surprising that short films are more difficult to master than long films.

Hu Dao wanted to adapt the novel into a movie and tell a story in a limited time, so he changed the basic structure of the novel, from the first-person narrative to the omniscient narrative, which made room for him to add personal style content, such as martial arts scenes, which he has always been good at. After the adaptation, Feng Rui joined the scene of fighting to save Korea. His excellent editing and scene scheduling can best show his wonderful handling of martial arts scenes. If we shoot according to the original novel and the fighting scene can only be presented by the flying eagle's self-report, then Hu Dao's advantage in dealing with the fighting scene will be buried.

The film begins with the introduction of the storyteller at the beginning of the film, telling the story of Royal Guards in the Ming Dynasty. In the narrative space of omniscient perspective, Nuts can portray Han's character and portray her as an assassin with traditional femininity in China. Biography of Assassins in Historical Records of the Western Han Dynasty also tells the stories of five assassins: Zhuan Xu, Cao Mo, Yu Rang, Nie Zheng and Jing Ke. Undoubtedly, Hu Dao adds a sense of history to the story of the female assassin in this film, which is more historical than the original novel.

Stills Of course, first-person narration or omniscient narration are all ways to write stories. Whether the story is beautiful or not, whether the film is wonderful or not, ultimately depends on the director's skill.

During the filming, there will be many interesting stories about Li Hsing and Bai, three great directors.

Screenshot of the film-Screenshot of the first two films-Li Hsing and Bai, the famous directors of the third Taiwan Province film industry, felt the decline of the film industry and decided to co-direct a play in the hope of reviving the morale of the film industry.

Different directors have different stories, but the main actors should be the same. Hsueh-fen Peng, Jiang Houren and Shih Chun must play their major roles in three stages. This is a golden opportunity for young artists. A play directed by three big-name directors must benefit a lot.

Many actors heard that "Big Samsara" wanted a heroine, so they volunteered to get the role. But after careful selection by three great directors, none of them liked the film, and finally Hsueh-fen Peng was chosen.

The Grand Cycle was funded by the factory in made in taiwan and supported by Li Xing's Volkswagen Company. The selection of actors is very strict, especially when the main actors Hsueh-fen Peng, Shih Chun and Jiang Houren sign the contract, which clearly stipulates that pre-job training is an obligation in the contract, and also requires actors not to play games.

Hsueh-fen Peng, the master who loves books, has a sweet mouth. In order to strive for the actor's perfect performance in the play, Li Hsing specially invited Wu He, a famous actress in Beijing Opera, to teach Peking Opera People, Old Students and Tsing Yi respectively, and invited Professor Chen Hui Lou to perform martial arts dramas.

Shih Chun and Jiang Houren were awed by director Li Da's power and prestige, and they went to class obediently every day, while Hsueh-fen Peng was not so obedient and careless in teaching, which fully showed the playful habit of young girls.

Li Xing didn't care at first, but when he found that Hsueh-fen Peng often did this, he was very unhappy. He really wanted to find a chance to repair her.

Because a lot of actions in the play are from Beijing Opera, in terms of workmanship and figure, in order to make the actors more natural and vivid, Li Hsing let them go to several Beijing Opera performances.

On one occasion, Li Hsing invited the actors to see a famous Peking Opera at the Taipei National Art Center. Everyone arrived, but Hsueh-fen Peng was late and didn't come until after the opening ceremony.

After the second stills of Great Samsara came into the scene, Hsueh-fen Peng always looked around and couldn't concentrate. In a rage, Li Hsing decided to scold her after the play and even change the heroine.

But Hsueh-fen Peng was smart and considerate. Knowing that the directors were unhappy, he cleverly offered to drive the directors home and blocked Li Hsing's mouth.

Later, Li Xing visited all the teachers and found that they all spoke highly of Hsueh-fen Peng. Li Yurong boasted that after years of teaching, he had never seen such a clever student. He knows every movement like the back of his hand and doesn't need to be taught twice. Orchid hand, walking on stilts, posing, learning and selling now, the technology is not inferior to a well-trained actor.

Li Hsing, the manuscript of "The Great Samsara II", is skeptical. In the official shooting, Li Hsing took the lead and finally realized Hsueh-fen Peng's cleverness. She is a natural movie fan.

For example, there was a scene where Hsueh-fen Peng and Shih Chun played opposite each other, and there were fourteen Ngs in a scene, but none of them were because of Hsueh-fen Peng. At the same time, for fourteen times in a row, the movements required by director Hsueh-fen Peng all met the requirements and kept a certain level unchanged. At that time, Li Xing had just left his original dissatisfaction with Hsueh-fen Peng.

Although the three great directors could do nothing about the naughty Hsueh-fen Peng, they appreciated her talent. Li Xing asked the Peking Opera master to teach her to sing Peking Opera, taught her to play mahjong for free, and taught her to read more books in Dundun ... Hsueh-fen Peng did it one by one, and strict Hu Jinquan finally took it as one of her female disciples. Li Hsing even praised her as a "witty and talented actress".

Hu Jinquan filmed for the first time, because the producer explained that it could only be filmed for 30 minutes, and Hu Jinquan had to concentrate long and complicated content to shoot for the first time.

Li Hsing and Bai cooperated in the story outline of Great Samsara. There is a Japanese in the film who was born an enemy. He can only say "Beast" in Japanese, which he learned from a Japanese lighting engineer. The actor who plays the enemy is a Peking Opera actor, but he looks more Japanese.

In the first episode of Great Samsara, Hu Jinquan never repeated shooting from one angle. He often said to the staff: "There can be twenty or even thirty angles to shoot a thing, but the best angle should be several."

Award winning record: 1. Hu Jinquan won the "Best Director Award" at the Italian International Science Fiction and Fantasy Film Festival with "The First Time" of The Great Circle.

Hu Jinquan, director of the International Science Fiction Film Exhibition, won the award. 2. The 20th Taiwan Film Golden Horse Award.

win a prize

Best Editing Award-Zhou Daochun and Lin

Zhang Jiping Award for Best Art and Design

nominate

The 20th Taiwan Film Golden Horse Awards presented the Best Feature Film Award.

Best Editing Award-Zhou Daochun and Lin

1983-11-20 won the Best Art and Design Award in Shih Chun, Zhang Jiping.

Zhang Jiping Award for Best Fashion Design

Wang Best Recording Award

3. Shih Chun won the Best Actor Award in the 28th Asia-Pacific Film Festival.