Is the unique martial arts world of Arrow White Ape more real than Weiya's hanging?

I like the style of The Arrow and the White Ape very much, which is very heavy in China classical literature. In contrast, those martial arts films that fly around with Weiya are too weak. Xu Haofeng's martial arts belong to hard kung fu, which is very real, unique martial arts world, quietly, an arrow to see people's hearts. The tag-style lone ranger is Jianghu-like. The archery is clean and neat, the lens restores the Buddhist realm, and the character's posture is classical and profound. Xu's kung fu, the real kung fu of hard bridge and hard horse, is by no means double. Dominate fate, no one is qualified to kill for whom, and regret will eventually lead to a lifetime.

As a rare kung fu director in recent years, Xu Haofeng's films do have rigorous realism, which gives martial arts an explosive aesthetic feeling. But for today's entertainment films, this pursuit is obviously high and low, so that even if every shot of the film is obviously aesthetic, the whole story has a step-by-step feeling. Action is still the highlight of Xu Haofeng's works. As many people say, Bai Liu apes are friendlier than the Japanese and have nothing to do with their owners. That's the feeling.

"Arrow and willow and white ape" became a style, but finally got tired of it. The music, photography and action of this film have maintained the consistent high standard of Xu Haofeng. However, this film goes beyond the theme depth of Xu's first two works, and is seriously divorced from the stylized images he is good at (or is too intoxicated with this style), which is reflected in almost feminine lines and performances, as well as vague characters' motives? All the changes seem to be told by lines. The most wonderful psychological description of the characters in the film is flying knives and shooting mirrors, which makes people angry. Unfortunately, there are too few similar treatments.

Maybe you will think that the world outlook of martial arts in the Republic of China, cold weapon confrontation, and? White mixed-race girl and oriental graceful beauty embrace each other around? In Xu Haofeng, straight men are very interesting. However, compared with Master, it is very ostentatious in performance, editing and martial arts action design. The characters in the plot are very simple, and the plot basically depends on pretending, trying to pretend to be a model of Crouching Tiger, Hidden Dragon, but the details and performances can't be faked. Except the oldest one who can bring people into the plot, all the actors (including the protagonist) are like fledgling drama actors, clumsily trying to make people laugh.

Is this a martial arts film? Why does it feel like a mental illness! It is ridiculous to regard deliberately slowing down the pace and stereotyped characters as literature and art, and the content is empty and untrue. Some people say that this is the real battle without gestures, which is true. Some people will say that it would be foolish if people were so surprised and dumbfounded in the past in battles and in their usual words and deeds. There are always some people who don't quite understand xu teacher's style, but what is certain is that xu teacher's aesthetics are very bad in music.

Anyway, I suddenly like this kind of movies recently, from Master to Bai Liu Ape. I like this style and tone, which is cold, hard and cool. Kung fu movies don't need much nonsense. The director used the lens very well. Now everyone is pursuing utility, and no one is serious about martial arts. The lines at the end of the play are classic. Why not now? Perhaps only nostalgic people like Xu Dao's works. Some people say that this film is fake. I just want to say that even if it's fake, it's high-end B, which is much higher than other junk domestic movies!

Arrows and white apes? Arrow? What is the pronunciation of Cantonese? Soldiers? Very similar. The work shot on 20 12 was released on 20 16 four years later. The reason is not clear, but it is definitely a rare sincere work that can be released in China. The film director and screenwriter are both Xu Haofeng, a professional martial arts novelist, screenwriter and director, which is completely different from the exaggeration of traditional martial arts films. Xu's martial arts world is flashy, and under the realistic action scene, it contains the true meaning of martial arts and the inner meditation, which is intriguing. Xu Haofeng has created a unique new martial arts film.

This is a traditional martial arts film shot by Xu Haofeng before the samurai. Composition and editing are still full of accents, and characters and stories are moving slowly. Xu Haofeng is indeed the best film director among novelists at present, and he has grasped the characteristics of the image. Although this style of kung fu is controversial, I personally appreciate this expression. Compared with the twisted martial arts movements in recent years, it feels more textured and powerful. I like this kind of implicit but not obvious story, which leaves a lot of room for the audience to feel and understand, instead of directly stuffing stories and ideas into your mind. The most rare thing is that it transcends the level of action martial arts and has a lot of charm for chivalrous morality and the world.

The film is adapted from Xu Dao's own novel. The martial arts style is clean and neat, with no special effects, simple kung fu, cold rivers and lakes, light painting style and full of realism. This work is more mellow and mature in style and aesthetics, and goes further than The Master in deconstruction, conflict and contradiction of individuals and rivers and lakes. This film is to express the individuals in the rivers and lakes, and their persistence and gradual disappearance. In the end, there are no more white apes in the Jianghu. Perhaps the fate of the shooter is doomed to a lifetime of wandering rivers and lakes. In fact, in that special era, it is impossible for Jianghu people to become real Jianghu people. It is difficult to find traces of rivers and lakes in the world, leaving only the secular.