What kind of movie do you think "Gorgeous Office Workers" is?

The beginning of "Beautiful Office Worker" is uncomfortable. To be precise, it evokes a sense of disgust just like the evil deeds of the screen villain. When the subway arrives, everyone lines up to enter the office. The lack of energy and the artificial excitement form an absurd juxtaposition. The scene where the accounting elites appear is extremely ironic, as if the office elites have become depersonalized under the constraints of a highly professional system. working machine. Dystopian movies often use this highly uniform group behavior to arouse the audience's disgust. This gorgeous human hell is similar to the sworn homage ceremony at the beginning of "Underworld". Everyone follows the rules and behaves dignifiedly. The highly professional style of "no distinction between old, middle and young people" is just like the gang members swearing loyalty to the death. It is full of a sense of ritual. . However, not long after, the underworld quickly began to tear apart, and the selfishness and personal feelings of office workers as biological people also broke through the noble pretense of professionals, and staged a tragedy and comedy filled with tears. Haha, this kind of drama of first establishment and then deconstruction is really Lao Du's specialty.

Some critics described the film as a "workplace gangland". The two films have one thing that is very close to each other, that is, there are endless plot twists and turns that are neither funny nor surprising. This is exactly the opposite of Lao Du's way of filming "A Single Man and a Woman" where he must encounter unexpected coincidences and a series of explosions. Those workplace plots did not have the unexpected and shocking moments of suspense movies. A friend said that he was a little disappointed. It did not have the high-intelligence quarrel between men and women in the workplace that sparks sparkle. Just like watching the underworld, many insiders who claim to be familiar with gang life expressed disdain, saying that Hong Kong gangs are not like that. But this is precisely the specialty and charm of Du's film. If it only replicates reality, people work from 9 to 5, and gossips and gossips are common every day at work. Why spend money to go to the theater to watch a replica version. What's more, the reason why this story written by Sylvia Chang is so watchable is not because of its twists and turns and clichés. It gives us an almost omniscient perspective and an overview of everything. How do those men and women, struggling between reason, emotion, curiosity and desire, inevitably come to a decisive ending. From the moment the characters sing and dance, we are told that whether it is a fable or a motto, it is not realistic anyway. The film is full of obvious symbolic meanings, such as the elevator that goes straight to the 71st floor, which has constantly become the killing machine in Eason Chan's dreams. In To's movies, those who are cool-headed and unemotional always have a greater chance of having the last laugh, just like Ah Le in "Underworld", Jimmy Tsai in "Peace Is Precious", and earlier, there is also Hong in "The Dark Flower". gentlemen. At the end of the film, the winner seems to have used all his wisdom to show the city that is not amazing, but we are willing to revel in the emotions of sudden death and prosperity after the dust has settled. In reality, our perspective is narrow, our imagination is limited, and personal emotions will interfere with our judgment. It is almost impossible to appreciate such a chorus-like colorful chess game. Corporate executives are forced into desperation by financial gambling, and those passages where the stock market is in turmoil have a sense of cordial continuation from "The Money". What impressed me most was the phrase "I want to call the police", which instantly reminded me of those words "Let's turn ourselves in", "The fire is a police undercover" and so on. After the embarrassing setbacks of "Exiled", "Iron Triangle", and "The King", Lao Du proved through "Dragon War" that he has mastered the auditing skills, and "Gorgeous Office Worker" tells us that he has further learned how to deal with the system. ***dance. Hong Kong directors who went north all have similar demands. Considering the sensitivity of the subject matter, almost no one can do it better than Lao Du. If you don’t believe it, compare it to Lam Ling-tung’s “Mystery City” not long ago. As fans of Galaxy Image, we have all been waiting for "Big Brother 2" and "Underworld 3" for a long time. Maybe it's time.