How to evaluate Chill II?

There are only three gun battles in the whole "Chill 2". Compared with silent Hong Kong films that shoot at each other, this figure is prudent and restrained. Of course, the small number of gun battles is not due to cost control, but in this story of "political struggle", there is really no need for so many gun battles. Moreover, these three gun battles have also done enough work in the plot and scene, which is also satisfactory.

In the first gunfight, there were actually no gunshots. This bridge section happened in the subway station.

Liu Jiehui gambled that Li Jiajun traded his wife for gangsters.

Li Jiajun made a panic and fled. In the bustling crowd, the camera keenly captures suspicious people and finds the escape route and logic of the suspect in the chaos.

The emergence of a large number of translation lenses has aggravated the sense of tension and existence.

Multi-camera photography also makes the smoothness and coherence of this scene meet the requirements. For Lok Man Leung and Kim-ching Luk, who have filmed Chill, directing this scene is just a small experiment.

The second gunfight took place after a car chase.

Cai and his party were trapped in the tunnel and had a head-on conflict with those who followed. A street fight across the street is on the verge.

The shooting scene was very calm and restrained, and the editing was fine but not messy. Everyone's position, weapons and walking in the gunfight were clearly introduced.

What's more, the director didn't romanticize the gunfight here, nor did he follow the cold realistic gunfight style of Galaxy Image. Lok Man Leung and Kim-ching Luk adopted a "compromise" approach to deal with the gun battle. To put it simply, they filmed the gunfight in a slightly exaggerated way and in a realistic way.

There are assault rifles, submachine guns, pistols and shotguns in the tunnel station. The sound imitation department assigned different sounds to each gun, while the mixing department correctly separated these gunshots. Coupled with sharp editing, the whole tunnel drama is quite outstanding.

In the use of lens language, panoramic, middle and close-range cross-editing makes people have a thorough grasp of the overall situation and observe the nuances.

This expression of "accuracy" and "in place" runs through the whole film. Of course, in the filming of the abandoned parking lot in the second half of the film, accuracy and accuracy almost became the only appeal of the director when dealing with it.

The gunfight at the dump took place between the police and the whole gang.

Although the scenery of the dump is not small, the route is not complicated. There is almost only one way to enter. Under the aerial camera's bird's eye lens, the route for the police to enter the parking lot is very clear. This clarity gave the gangsters a chance to "blast".

After the first explosion, the lens began to shake, holding hands and following shots increased, the editing speed began to accelerate, and the duration of a single lens began to shorten. Speed up, giving the impression of oppression. In this passage, the director provided the audience with a lot of information, which made the audience have no time to think.

He, played by Yang Shining, was injured and resisted, and several gangsters were crushed by the police ... Every tiny plot point was embellished.

Although the bandits blew up a main building in the abandoned parking lot on the way to escape, it is obvious that the explosion only bought them a little time and did not play a key role in the escape.

Accuracy and precision have once again become the advantages of gun battle scenes in abandoned parking lots.

The picture on the screen and the information in the earphone form a perfect scene with overlapping sound and picture. The voice-over tells everything on the screen, and in the intense lens, it finds a possibility of interpretation and combing. The explanations of "hitting a suspect" and "the suspect is dead" are endless, and bullets are flying everywhere on the screen, and blood is flowing.

This visual and auditory stimulation fully shows the fierceness of this gunfight scene. It is worth mentioning that the director did not use the usual upgrade lens here, but shot the whole scene at normal speed. Moreover, without the soundtrack, the "romanticism" of whining disappeared and was replaced by the "man's war" of soft blood and hard bridge. Out of the garbage dump, it is a joke of the supermarket.

There was no supermarket in the script, but at the suggestion of Tony Leung Ka Fai, the director added this paragraph temporarily.

Through the glass, Yang Shining's eyes were filled with sadness, understanding, regret and indignation.

Tony Leung Ka Fai just stared at him silently outside the glass. Instead of using the usual forehand and backhand shots, the director used a longer lens to shoot Yang Shining's whole performance from beginning to end.

The tacit understanding between him and Tony Leung Ka Fai, the audience can not only feel through the screen, but also be "accidentally moved"-some film critics praised Yang Shining's farewell look as "a drop of blood in a group of political animals" in Chill 2.

Although Chill 2 is not nearly perfect in story level, the familiar expressions, smooth narration, accurate scene scheduling and lens editing of Lok Man Leung and Kim-ching Luk are still impressive in lens vocabulary and film skills. For Hong Kong films called "crazy" and "excessive" by Baudville, the prudence and restraint of Chill and Chill 2 are absolutely priceless.