Brief introduction and detailed information of empty mountain spirit rain

Synopsis: The story of "Empty Mountain and Spiritual Rain" takes place in Sanbao Temple. In order to choose an heir, the abbot invited Wen 'an, a wealthy businessman, and General Wang, a local official, to consult with a secular master. Who knows that the first disciple Hui Tong and the second disciple colluded with General Wang and Wen An respectively to seize the position of abbot. At the same time, General Wen has always coveted Tang Sanzang's manuscript, Mahayana Faith, which is treasured in the temple. They all have stories of intrigue.

If you come, drink with me, Longmen Inn, The Storm of Yingchunge eulogizes justice, while The Rain on an Empty Mountain focuses on the ugliness of human nature. Although Hui Tong Huiwen is a monk who has been practicing for many years, he covets the position of abbot and does not hesitate to kill and steal. Both Wen 'an and General Wang are rich and powerful officials, but they can't escape the temptation of Mahayana belief theory. On Mahayana Belief The dispute between abbot and general Wen of Huitong Huiwen is essentially due to human greed, but one side is greedy for power and the other is greedy for money.

Hu Jinquan used this film to convey his understanding of Zen Buddhism. For example, when the abbot visited three disciples, he gave them the topic of getting clean water, which included the epiphany thought of Zen: "Bodhi has no trees, the mirror is not a stage, and there is nothing. Where can dust be generated?" . The world is empty, everything in the world is an empty word. If the heart is empty, there is no need to resist the temptation from the outside world. Everything passes by the heart without leaving a trace. The Mahayana belief theory, regarded as priceless by General Wen, is just a dead letter to abbot Qiu Ming and laymen. The abbot arrived unexpectedly and reached the newly arrived prisoner Qiu Ming, which coincides with the story of Zen master Hongren, the fifth ancestor, and Huineng, the sixth ancestor. The thief white fox fled into an empty net, which is the Buddhist concept of "putting down the butcher's knife and becoming a Buddha"!

The style of "Empty Shan Yu" is obviously different from his previous "Come and have a drink with me", "Longmen Inn" and "The Storm of Yingchun Pavilion", and the protagonist is no longer a chivalrous and courageous figure. There was no clear boundary between good and evil between the opposing sides in the past. Either you die or I die. It can be said that this film no longer follows the existing pattern of martial arts films, just as Kurosawa's Seven Samurai is not a samurai film in the general sense, Hu Jinquan has brought martial arts films into a higher spiritual realm including human thinking and Buddhism.

Remarks on the cast-Feng Hsu-Tian Feng-Shih Chun-Lin Tung-Hui Lou Chen-Sun Yue-Qin Pei-Ming-tsai Wu-Wu Jiaxiang-Lu Chun Li Wentai-Jin Changgen-Wang Guangyu-Du Weihe-Xiao Dehu-Xiao Hou-Member

Producer: Hu Shuru and Wu Xiuyi, Hu Jinquan, Hu Jinquan.

Producer: Luo Luo Hai Mu, Chung Ling.

Editor: Hu Jinquan Hu Jinquan

Action Design: Ming-tsai Wu Wu Mingcai

Producer: Han Han Jiacan

Art: Hu Jinquan Hu Jinquan

Note: Maree Lau, Maree Lau.

Make-up: Li Lijuan Li Lai-Kuhn

Deputy Directors: Lintong, Lin Tung, and Zhang Hansheng, Fred Tan, Fred Tan.

Hairstyle: Casey Chan, Chen Liying

Assistant Instructors: Telford Little Telford, Hou Yaozong Xiaohe.

Music: Wu Dajiang Wu Dachang

Making this film behind the scenes should belong to one of Hu Jinquan's later works. The story is simple and the clues are clear. On the one hand, there is no suspense in the plot, and it is easy to guess the ending; On the other hand, Zen is a hard thing to understand, which often contains profound meanings that ordinary people can't find through appearances. There are many characters in the film, and each character is vividly portrayed. The psychology of intrigue and mutual use between people is very subtle.

Hu Jinquan is a master of martial arts movies. Although it can't be completely called a martial arts film, the fighting scene is still full of pen and ink charm. When the martial arts films entered the Baroque era, the audience got used to seeing Tsui Hark and Donnie Yen, and when they came to see Hu Jinquan, they might really feel a little dull. But martial arts are not flying around, not quick shots, not dazzling stunts and various lights. There are neither masters nor stunts in "Empty Mountain and Spiritual Rain". Every fight is simple and solid, without impacting people's internal strength, even pulling and biting, which is unparalleled.

In this film, the environment is one of the themes of the film. Hu Jinquan's lens is full of artistic conception of China's paintings. Any cut painting is a splendid Chinese painting. In the Hong Kong film industry, which is obsessed with efficiency and money, Hu Jinquan is really an anomaly. Every scene, every shot has been repeatedly scrutinized.

The original words of the film's evaluation of Xue Xingguo are as follows: "Hu Jinquan's martial arts movies are not only Zen, but also the spirit of China culture, and even the soundtrack is Hunan Bangzi."

The movie "Empty Mountain and Spirit Rain" is not as famous as "Woman". In the introduction of the title, it is vaguely mentioned that "this movie is not quite the same as the martial arts films that Hu Jinquan has made before", and no suitable statement can be found.

Some film critics are quite rude, pointing out that "Empty Mountain Spirit Rain" pays too much attention to the meaning of "Zen", and the director seems to want to sublimate it to the realm of philosophical films. Too deep artistic conception, too slow plot and even rhythm only have the opposite effect, or the director is too showy-when it comes to showmanship, I suddenly think of tornado's Legend of 1900, which is a bad review for film professionals, but its business is a sensation. "Empty Mountain Spirit Rain" is by no means commercial, not to mention its small popularity. Even if I put it in the cinema, I can definitely sleep half of the people-but I am still deeply excited and excited.

The plot is simple and the clues are clear. When the character Tyumen appeared, I already felt that there was no suspense in the abbot's dispute, even though not all the three disciples of the old abbot were greedy for money and power. On the one hand, there is no suspense in the plot of early movies, and it is easy to guess the ending; On the other hand, Zen is a hard thing to understand, which often contains deep meanings that ordinary people can't find through appearances.

There are many characters in the film, and each character is vividly portrayed. The psychology of intrigue and mutual use between people is very subtle. I pay more attention to three characters, Wu Wai, Tyumen and White Tiger. These three characters formed a gradual transition process, which fully reflected the development of Zen in Hu Jinquan's films. As we know, Buddhism has five precepts: don't kill, don't steal, don't be lascivious, don't lie, and don't drink alcohol, which is the foundation of being a man. Tyumen was framed by Mr. Zhang for theft and exile, and bought a disc and came to the temple. The old abbot said he stole it. However, the appearance of Master Wu Wai in the film broke the image of the former secular master. He is not a monk, but he is a Buddhist master that even the emperor respects. He eats meat, and Buddhism believes that "if a yogi keeps eating meat, no matter how wise he is, according to the law of causality, he will still get retribution in Luo Cha's ghost road"; He is a womanizer. According to the Buddhist scriptures, there are twelve diseases in the human body. The desire for love is a disease, and having sex with a woman other than his lawful wife is a lewd ring. No wonder White Fox came out with a large number of maids, and everyone laughed at him as an "old goat".

In the film, the scene of Wuwai's lecture is quite wonderful: in a beautiful valley, a grey monk in a red robe sits cross-legged on a big stone and recites scriptures, while the ladies-in-waiting outside Wuwai play and bathe in a foggy blue pool. From the big disciple to the little monk, I can't control it. Look sideways. In several shots, the monks' psychology has been naked, between the smiles of the master and the audience. At the same time, Tyumen, who was drowning in water, was puzzled to see this scene, and showed no distractions under the guidance of monks, which more or less paved the way for the subsequent development of the film and Tyumen becoming the abbot.

If enlightenment can reach the realm of Buddhism, what you can see in Tyumen is a mortal image of flesh and blood. He is clever, kind and patient, but he is not perfect. He was framed by Zhang Cheng and asked him: Do you hate him? He answered whether he hated it. He and the maid outside the enlightenment cleaned up the scattered beads, but Mr. Zhang beat them around. We saw A Qiu glaring at each other, hiding his face and crying-he didn't want to say there was no resentment, because Tyumen was still a mortal.

In the sutra depository, Mr. Zhang almost strangled Tyumen. Now he can bear it, and his smile is in sharp contrast with Mr. Zhang's nervousness and guilty conscience. Until Mr. Zhang took out a knife, Qiu Ming finally couldn't help throwing him down the sutra depository-then the audience suddenly discovered that Qiu Mingyuan was a hidden figure, and Mr. Zhang, who is skilled in martial arts, could throw him out with only one hand. In the past, the image of the cowardly man who was framed, bullied and kept silent suddenly changed. Buddhism believes: "Enduring humiliation is a virtue that can increase your blessings, so if someone bullies you and wrongs you, you don't have to be sad, but you should be happy, because it can bring you blessings." I think this is really hard for ordinary people to understand, and even harder to do, because at first glance it is "A Q".

Tyumen changed rapidly and identity changed one after another. Although it is an exaggerated artistic technique in the film, it can still portray the Zen realm that the director wants to express very well and completely. After getting the abbot's mantle, Tyumen, with a wide robe and big sleeves, suddenly showed some innate wisdom and boldness, which shocked the monks who were instigated by the elder brother, and this boldness was deeply displayed when he handled the treasures of the town temple-"This volume of Mahayana letters has caused many disasters to this temple for thousands of years, and now it is returned to Master Xuanzang." So the center of the whole controversy, the priceless treasure that profiteers and corrupt officials dream of, was burned, clean and simple.

White Fox is one level worse than Qiu Ming, but she is really the highlight of the film. As a female snitch, Bai Hu was hired by Quan An to steal scriptures. She doesn't have the humiliation temper of Tyumen. Her essence is kindness, dare to love and hate, and will draw out a sword to help her when she sees the bumpy road. She will be angry if you touch her safely. When she first debuted, her talk exposed her values as a layman: when Quan An introduced this to the Sambo Temple, she asked, "What are the Sambo in the temple?" Speaking of Mahayana correspondence records, she asked, "How much is that worth?" -first appearance, vulgar and greedy. With the movement and development of the movie plot, I gradually found that this woman's innocence and recklessness are many times clearer than those of gentlemen and officials, so I am not surprised that she finally chose to become a monk who sees through the world of mortals. I haven't read the relevant director's notes. I wonder if the director wants to express this meaning, that is, everything ends in the same way, and practicing Buddhism is the end of everything.

Another lovely figure is Hui Si, the third disciple of the old abbot. Perhaps it's because the actor who plays him is the underworld boss and profiteer we often see in Hong Kong dramas. At first glance, he thought he was another role of intrigue. Unexpectedly, this man was absolutely resolute when he was young. He realized that it was not perfect, that Tyumen was not perfect, and that the white tiger was not perfect, but Huisi was almost perfect. Huisi Buddhism has a profound cultivation, is not surprised by honor or disgrace, is happy-go-lucky, meticulous and rigorous, and is the best candidate for the new abbot in any way. I was deeply impressed by the scene where the old abbot and Master Wu Wai tested three disciples. The old abbot asked each of them to carry a bucket of water and asked them how the water came from. The big disciple Hui Tong replied, "A thousand streams and thousands of waters return to the sea, so that a bright moon can be reflected." Wen Hui, the second disciple, replied, "Only by practicing perseverance and clarifying issues of common concern can we return to our roots." It was Huisi's turn to simply say, "Let nature take its course and your heart will be clear."

Hu Jinquan is a master of martial arts movies. Although "Empty City Plan" can't be completely called a martial arts film, the fighting scene is still full of pen and ink and charm. Some people think that the fighting scenes in the film are too rhythmic, just like doing broadcast gymnastics. I think if you want to enjoy the wonderful martial arts scenes, getting wet in the rain is not the first choice. I strongly recommend Hu Jinquan's the legendary swordsman, Woman, Come and have a drink with me and Storm in the Spring Pavilion. Although the above films were seen as early as China's childhood, they were extremely impressive. Watching some martial arts movies and TV series today, I always feel that something is missing, and something is not quite right. It was not until I watched Hu Jinquan's movies again, until the white fox appeared in the wide Sambo Temple in a dark suit, that I suddenly found out that this was martial arts. Martial arts are not cranes, quick shots, dazzling stunts or lights. In "Empty City Plan", there are neither experts nor stunts. Every battle is simple and solid. There is no internal strength to beat people back, even pulling and biting. It's really ugly. People who are used to overpass style may not be used to Hu Jinquan style. When the martial arts movies entered the Baroque era, when Crouching Tiger, Hidden Dragon was famous at home and abroad with oriental sentiment, and then looking back at Hu Jinquan's image aesthetics, I suddenly found it meaningless to continue to interpret martial arts in this way.

Hu Jinquan, the director of the movie "Empty Mountain and Spiritual Rain", used high technology as frequently as Ang Lee didn't choose Tsui Hark, and finally made Xinshushan an experimental field. Ang Lee's lens is full of bright temperament, which keeps the narrative of the story mysterious, noble and romantic. Of course, it is indispensable to challenge the traditional relationship between men and women, and it is indispensable to fly over the eaves and climb the wall. It is mountains and rivers and the sky, not glittering golden statuettes and jade horned dragons. Some people call him a "scholar rebellion", while others marvel at the director's profound cultural background to make such a China film-I smiled when I saw this, because I thought of Hu Jinquan.

It seems that after Hu Jinquan, you won't have to make martial arts films. Just like Lin Daiyu's poem about burning crabs. But I'm serious. The reason why I compare Crouching Tiger, Hidden Dragon and Hu Jinquan-these are two levels of films, which can't be compared-is because it is famous, and because it is a hodgepodge of Hu Jinquan movies from a certain point of view: the scene of Yu Jiaolong in the restaurant. After reading it, someone said, hey, isn't this the Spring Pavilion storm? When fighting in the bamboo forest, there is also a bamboo forest scene in Hu Jinquan's Woman. At that time, there was no crane now, but he photographed the woman falling from the sky, splitting the bamboo forest and flying in the middle, which felt great.

Finally, I'd like to mention the picture of "empty mountains and rain". In this film, the environment is one of the themes of the film. Hu Jinquan's lens is full of artistic conception of China's paintings. Every cut painting is a splendid landscape photo or Chinese painting. Perhaps because the directors of the older generation are rigorous, every scene and every shot seems to have been scrutinized by photographers, and finally the story, actors and audience have an immersive experience.

I can't help but think of many movies, not only martial arts movies, but even some scenes remind me of the hit drama Looking for a Gun in 2002. I don't know if Lu Chuan has learned from it. In fact, Hu Jinquan's films touched and influenced many great directors, such as Tsui Hark, Xu Anhua and Ang Lee. Unfortunately, as the first China director to win this honor at Cannes Film Festival, his popularity in Chinese mainland is far less than that of the above-mentioned directors.

20 1 1 year, director Jia served as the chairman of the "Horizon" unit of the 68th Venice Film Festival (China was in charge of this unit, which was the first time in the history of Venice Film Festival), and the Beijing News launched the "Famous Directors Recommended 10 Movies" activity. This director is regarded as a faithful record of the present era, and all the selected films stayed before the 1990s. Among them, the eighth movie is Rain on an Empty Mountain (65,438+00 movies include Nanuke in the North by Robert Flaherty of the United States, Battleship potemkin of the former Soviet Union, Street Angel by Yuan, Bike Thief by Sika of Italy, Late Spring by Yasujiro of Japan, and Italy. Robert bresson's Prison Break, Hu Jinquan's Empty Mountain Spirit Rain, Hou Xiaoxian's People from Fengge, and Chen Kaige's Yellow Land give the following comments on Empty Mountain Spirit Rain:

Light and gentle. The beauty of walking, running, jumping, jumping and body shape.