Brief introduction and detailed information of one-armed knife

Yingxiong Qi took in Fang Gang, the son of Fang Cheng, a servant who gave his life to save others, and taught him.

Martial arts, but also want to be the first. For example, Feng's daughter didn't like Fang Gang, so the United Brothers competed with Fang Gang and plotted against him. Fang's right arm was cut off, and she escaped injury and was saved by Xiaoman, a young girl. Xiaoman practiced the left-hand magic knife according to the left-hand atlas left by Xiaoman's father. Later, Feng Ru was retaliated by the smiling enemy Jiro and the long-armed demon. His disciples were killed and Chi Pei was imprisoned. In times of crisis, Fang Gang put aside the past, rescued Chi Pei with Xiao Man, killed Jiro, a demon with long arms, and rescued Master. Later, the two walked away hand in hand.

Notes for actors in the cast: Fang Yu Xiaomanqi, Mrs. Tian Feng Qi, Chen Yanyan, Long Arm Demon, Brother Wei, Guo Di, Fan Yi, Mei Sheng, Fang Cheng, Brief Introduction to Feng Gu? : Fang Gang's father

Ba Shuang Liu Jialiang Ding Peng Tang Jia Tang Di Zheng Tianshou Xiao Er Choh Lam Tsang Wang Daye Li Jen Ho Grandpa Peishan Zhang Qige Zheng Lei Mars Temple Fair Zhao Xiongshun Er Jiu Ge Wang Guangyu Qi Rufeng Disciple Yuan Heping Qi Rufeng Disciple Yuan Xiangren Qi Rufeng Disciple Liu Jiarong Qi Rufeng Disciple Liu Gang Guest Zhang Baishuang Ren Shiguan Guest Chen Quanbin Zhou Xiaolai Staff Desk Producer Shao Runmei, Director Zhang Che, Deputy Director (Assistant), Huang Yuansheng, Screenwriter Zhang Che, Ni Kuang Photographer Ruan Zengsan, soundtrack, edited by Wang Fuling.

Behind-the-scenes production 1965, Shaw, the boss of Shaw Company, was tired of the proliferation of old-fashioned martial arts films and decided to shoot new types of martial arts films. After several attempts, Zhang Che filmed his masterpiece One-armed Knife on 1967, becoming the first movie with a box office of over one million, and Zhang Che was awarded the title of "million director". This film established Zhang Che's important position in the film industry, and was called the new martial arts film. In Zhang Che's movies, the actor really has a leading role; In Huang Mei's previous works, the actor was just a foil. In Zhang Che's films, the hero is a chivalrous man with strong personality, independent personality and his own standards of dealing with others. He values the friendship between men, and being immersed in love with children is the foil.

1967, Shaw established the martial arts film "Wang Jiangshan" with intense plot and compact lens. Therefore, Zhang Che set an example of "New Martial Arts Film", and Ni Kuang also wrote a script. The actors in the film are all chosen temporarily, for example, Wang Yu plays Fang Gang, Jiao Xiao plays Xiao Man, Pan Yingzi plays Page, and Yang Zhiqing plays the long-arm demon. When the storyteller grew up, his brothers and sisters who were covered with customers discriminated against and insulted him; In a competition, Fang was mistakenly interrupted by her sister and ran away with injuries. The home front was saved by the peasant girl Xiaoman. She wanted to live in seclusion in Shan Ye, but she got into trouble with her master. In order to get revenge, she used her dead father's knife and her cruel father's knife to fight the long-armed demon …

It was written by Ni Kuang, a martial arts writer, but its content was modified a lot by Zhang Che. Ni Kuang said with a smile that only the word "one-armed knife Ni Kuang" belongs to him. The story tells that Fang Cheng, a servant, took in his son Fang Gang to save the life of Qi, taught him martial arts and wanted to be a leader. The daughter doesn't love Fang, and in the name of fighting, she plots against her brother and has her right arm cut off. Fang Gang was saved by the young girl Xiaoman and practiced the left-handed magic sword with the left-handed atlas left by his father. Qi family was attacked by the enemy, smiling face and long arm demon. In times of crisis, Fang put aside the past, joined hands with Xiaoman to rescue Master He, and challenged the Long-armed Demon with a golden knife representing his master. Finally, he defeated the long-armed demon with his dead father's broken knife and his cruel father's knife. This film is a famous classic of masculine director Zhang Che, and it is also the first blockbuster with a box office of over/kloc-0.00 million Hong Kong dollars. Therefore, a "new martial arts century" was set off in Hong Kong and Taiwan, which is of great significance in the history of movies. At the same time, it also made Wang Yu the first martial arts superstar, and later extended several sequels, which also made One-armed Man set off a new wave of disabled martial arts masters.

There is no denying the film reviews. One-armed Knife, written by Zhang Che and Ni Kuang, is suspected to draw lessons from the plot of Yang Guo's broken arm in Jin Yong's The Condor Heroes. Although Page (Pan Yingzi) has a crush on Fang Gang (Wang Yu), she is resentful of her newly aloof personality, so she and her two brothers just bully and provoke each other in every way. Later, on a snowy night, Page was defeated by the enemy and unexpectedly attacked Fang Gang's right arm to vent his anger ... So far, the film seems to have not got rid of the familiar "God Carving" bridge, but overall, "One-armed Knife" is a unique and tortuous plot, showing the tragic beauty of masculinity. After Fang Gang broke his arm, he was rescued by a village girl. He wants to quit the Jianghu and retire to the mountains with her, but the reality is.

Although "One-armed Knife" mainly attracts the audience's attention with kung fu fighting, and the hero's experience of a disabled person practicing a stunt is also exciting, it is obvious that the film does not stop at superficial kung fu stunts, and the portrayal of the tragic hero of the other side is the most successful part of "One-armed Knife". -One arm, broken knife and broken spectrum constitute Fang Gang's complex emotional world. "One-armed" makes him more and more lonely and angry; The broken knife represents the father's feelings for the teacher. When his biological father died, he left a broken knife. If the teacher treats him as a parent, Fang Gang attaches great importance to feelings and righteousness, and it is difficult for the master to go through fire and water without hesitation. The remnant spectrum is not only the attachment of Xiaoman's feelings, but also a symbol of vendetta in Jianghu. Do you want to continue to forge ahead after learning the residual skills, or do you want to retire anonymously with your lover, so that no one cares about the honor and disgrace of your legacy? All kinds of psychological contradictions and emotional conflicts are intertwined and agitated with each other, which makes the one-armed knife full of full and warm romantic feelings and strongly infects every viewer. Moreover, even today, the unique rhythm and story tension embodied by the one-armed knife will not make people feel outdated, but will last forever and show infinite classic charm!

After reading One-Armed Knife, the film critics relived Zhang Che's youthful dream and looked back at the parties who had already died or aged in the tidbits. They remembered seeing middle-aged Wang Yu playing with a knife on TV the other day (I don't know if it was the one-armed knife), which really made people feel trance. Only the membrane is still there, just like the broken knife in the film. After digital restoration, it is still radiant.

It's hard to make a comment on One-armed Knife, the pioneering work of masculine martial arts directed by Zhang Che, because the film has a high evaluation both inside and outside the industry, and there are many comments, so it's hard to be original and even difficult to draw up a title.

Zhang Che's first martial arts movie was The Three Heroes in the Border Town. The cornerstone of Zhang Wugong is this one-armed knife. This film was released at the box office that year and received rave reviews, which was the first knife of Shao's martial arts film. Since then, Zhang Che has also been dubbed "Million Director". This film, together with Hu Jinquan's "Come and Have a Drink with me", has been praised as two flags of "New Martial Arts Film" in the industry.

What's so good about this acclaimed and marketable one-armed knife?

The script is secret and ingenious. Many people think that Ni Kuang made it up. According to the grapevine, in fact, Zhang Che has a lot of interference with screenwriters, which is known from watching movies. There are two screenwriters, and Zhang Che is the first one. The main line of the story and the main characters are inspired by Jin Yong's martial arts novel The Condor Heroes. The protagonists Fang Gang, Page and Xiao Man are suspected to be Yang Guo, Guo Fu and Little Dragon Girl. It seems risky to start a new stove on a certain paragraph of "The Condor Heroes", but it is actually a coup. What moved you most about Jin Yong's martial arts novels? That is, when a hero comes down, he will make a comeback. Take Yang Guo's brokeback as an example, because if he falls down together, there will be contradictions, conflicts, struggles and release. This is the viewpoint. I think director Zhang Che should care about me. Whether you have seen The Condor Heroes or not, the story of the one-armed knife will definitely impress you, because it is unexpected, reasonable and enjoyable. Speaking of screenwriters, just mention the lines of the script. I think both Zhang Che's and Hu Jinquan's martial arts movies have more elegant lines and a more natural style, rather than being crude. This nuance is worth studying by the great directors who play martial arts to avoid the joke of "kicking the quilt". Storytelling, sophisticated. A good story needs a storyteller. This involves many aspects, such as the simple setting of the plot, the slow control of the rhythm, the reasonable collocation of civil and military, the far and near scheduling of the camera, the combination of static and dynamic, and so on. These are all places to learn the director's skill. Although this is only the second martial arts film, Zhang Che is very sophisticated. This "One-armed Knife" seems to be biased, but it is actually biased, and it can be called the most balanced work in all aspects among dozens of martial arts films in Zhang Che. Even after 40 years, it can still be the narrative mode of martial arts movies. While playing with pictures, mainland new martial arts directors really need to learn how to tell stories from this one-armed knife. Actor selection, appropriate. Wang Yu is the first generation of masculine chivalrous men in Zhang Che. Although his appearance is not as handsome as that of Tommy Tam and John Chiang, his temperament is very special. His simple costume implies a murderous look, and his brow is often depressed. He is really the perfect person to interpret the tragic hero. This feature was fully demonstrated in golden swallow and The Assassin. Zhang Che's martial arts films pay more attention to men's loyalty than children's affection. One-armed knife is an accident, giving consideration to friendship. Two actresses, Jiao Xiao and Pan Yingzi, played many roles, both of which were excellent. Action arrangement, strong. Nowadays, martial arts fans may think that the action of one-armed knife is not elegant enough and fancy enough. However, it seems to have more to do with the dignified and tragic style of this film. The martial art of this film is Liu Jialiang. In the 1960s, it was rare to design the movement to such an extent. This movie really put a lot of thought into martial arts. The scene changes quickly. Martial arts schools, wineries, inns, mountain roads, darkrooms, markets and rural areas are all swords and swords. Props are not only rich in weapons, but also designed to interact, which is quite interesting. In action shooting, Zhang Che boldly innovated, using a large number of hand-held follow-up motion lenses to highlight the sense of movement and tension. Although the film can't see the iconic scenes of Zhang Che's later works, it has already shown some clues, such as Fang Gang's escape after his arm was broken and the interception by a special disciple. These are all rendered at the expense of the rich colors of the film, and the aesthetics of violence has already emerged. The theme is interesting. A good work can be both entertaining and entertaining. You can think of One-armed Knife as a simple story of my father's revenge, but you can also come up with something not simple from simplicity. Being alone, leaving one arm alone, remaining one spectrum, and cutting the blade with a knife are by no means unintentional. Every image has a word-lack, the opposite of lack is round. In fact, Zhang Che is an out-and-out scholar, and he must think when writing a script. People who wander the rivers and lakes will always encounter adversity. The so-called "nature makes people", but everything is not absolute, rain or shine has its own transformation. If Fang Gang was not an orphan, he might not be able to learn from Qi. If you don't have a broken arm, you may just be a nurse, bodyguard and coach in the future; If there is no residual spectrum, maybe the knife method is general; If it weren't for an arm, I might have lost my life in the decisive battle ... or I lacked this road and eventually became a circle-both friendship and loyalty. The change of fate may be arranged by God, but the change of consciousness belongs to oneself. Fang Gang's last battle was not to avenge his father, but to repay his kindness. Only by eliminating this concern can he get rid of it. Why can't people help themselves in the Jianghu? This is just a kind of resentment. Fang Gang deviated all the way, and finally made a positive result. He learned the truth of not killing in killing, and he no longer depended on anyone and became an independent and complete person. After a brutal killing, you can still get away with it. This ending is rare in Zhang Che's similar works. Investigating its cause and effect, we can't help but think of the case of Hui Ke's broken arm seeking Buddha, which was circulated in Zen Buddhism. After learning this, the founder of Dharma said to him: The supreme way of Buddha is to be diligent in long-term robbery, and it is difficult to endure. How can you be narrow-minded, Xiao Zhi, intellectual man fit and slow-minded, looking without essence? Just in vain. Hui Ke heard this teaching, so he picked up a sharp knife, cut off his left arm and put it in front of the teacher. This reminds me of Taibai's poem "Chivalrous Man": Kill one person in ten steps and leave a thousand miles behind. After you finish, brush off your clothes, don't show any sound, and hide in the depths. Perhaps this is what Zhang Che had in mind, so he would like to use Yang Guo as a shell and martial arts for the disabled as a means. Subtle and well-intentioned. One detail seems to have been let go by many people, and that is the name of the protagonist. Hot-blooded Fang Gang spoke the second commandment of "Three Commandments of Gentleman" in The Analects of Confucius Ji Shi: Be strong and vigorous, and fight for it. Zhang Che is a martial arts scholar. With his literary accomplishment, he must know this allusion. The name "Fang Gang" was not chosen at random, but a subtle expression of Zhang Che's kindness. This masculine and bloody martial arts film seems to be brave and ruthless, but in fact it is just the opposite. It is to remind the hot-blooded man: stop fighting, stop fighting. From this point of view, "one-armed knife" is very suitable as the basis of Zhang Che masculine martial arts. This stone is like a broken knife, irregular, narrow and strange, inserted obliquely in the ground. However, this deviation and inclination is just a positive peace and an abnormal stability. Later, Zhang Che shot a lot of films full of bloody violence, trying to render the tragic scenes of heroes, which caused great controversy. However, with the foreshadowing of this strange stone, some people will understand the intention behind the bloody violence and Zhang Che's pity ... the sacrifice of "one-armed knife" is famous in the rivers and lakes. Later, Zhang Che made a sequel "One-armed Knife King" and "New One-armed Knife", and then Jiahe poached it. Looking around, it is this one-armed knife that commands the Wulin, and it is still dazzling today. Think about the past by the railing, really; The house surprised 3000 guests and was deserted for 40 years.

The third film review "One-armed Knife" is Zhang Che's famous work, which has created a precedent of millions of box office and hand-held camera shooting in the history of Hong Kong movies. His movement rhythm and aesthetic feeling, as well as the way to deal with violence, are also endless topics for future generations. It is said that Quentin Talentino wants to remake One-armed Knife because he likes the unique rhythm and the tension of the story. In fact, he should have paid tribute in Kill Bill. For example, the scene where uma thurman cuts off Liu Yuling's head with a knife is very similar to the scene where Wang Yu fights in a pub in this movie.

Film Review 4 said that One-armed Knife is of epoch-making significance because it can actually reverse Gan Kun. It turns out that the Hong Kong film industry experienced ups and downs in the 1950s and 1960s, and the romantic literature (plus singing) films featuring actresses were the most popular, but the status of the actors was not high. Even in "Come and Have a Drink with Me" (1966), it was Pei-Pei Cheng who played the heroine "golden swallow", not Elliot Ngok who "Come and Have a Drink with Me" became famous and became popular. It was not until 1967' s One-armed Knife was released that Wang Yu, a cold and lonely masculine hero, became a new idol in the eyes of the audience, which not only swept away the femininity of Xiangjiang screen, but also succeeded in making male masculine martial arts films replace romantic literary films and become the absolute mainstream of Hong Kong and Taiwan film circles.

As the pioneer of masculine martial arts movies, Zhang Che put forward the theory that "saving China movies should be masculine and feminine" in the column of Meditation Essays in Lianhe Evening News. He is also the most powerful practitioner of this theory. During Shao's film career of more than 20 years, he trained a large number of disciples, such as Wang Yu,,,,, Fu, Qi and so on. In addition, Zhang Che has worked with many cutting-edge directors, including Hsueh Li Pao and Gui Zhihong. At the same time, he supported Wu Ma, Wu Yusen and other newcomers behind the scenes, and carried forward the masculine martial arts and violent aesthetics he founded since the one-armed knife, which had a particularly extensive influence on later generations.

Now, Wang Yu, Yuan Heping and even quentin tarantino in the United States have plans to remake One-armed Knife. If it is made, it may not be a masterpiece, but no matter how much the audience likes those remakes, it can't replace the one-armed sword in the history of China martial arts movies, because classics are classics!

The film borrows the idea of Yang Guo's brokeback in Jin Yong's The Condor Heroes, and Zhang Che integrates the psychology of western heroes into Fang Gang's role. Rural life and turmoil in rivers and lakes have become Fang Gang's moral dilemma. "Shan Ye in seclusion" is similar to the symbol of "hero completion"-like all western heroes, he chose to leave after redemption because he represents killing. With him, the future is bound to be turbulent, and only he and himself are finished. On Fang Gang, there are both the sadness of western heroes and the chivalrous pride of traditional men in China. It can be said that this film is the most chivalrous film that carries out the "chivalrous spirit". Zhang Che's masculine aesthetics is shaped on the one-armed knife, which gives people a hearty feeling and opens a new era of Hong Kong martial arts films. (China Social Science Network Review)

The film not only has a rich sense of lens, but also gives modern vitality to China's traditional chivalrous spirit, and also projects the rebellious image of modern youth on ancient chivalrous men, which is not out of touch with the times. (1905 movie network review)