Kenny Lin is a bit like Tommy Tam when he was young. Am I alone?

Shaw films were the biggest and most successful films in Hong Kong from the mid-1950s to the mid-1970s. Shaw once proposed two important types. One is the Huangmei tune movie brought by the story of Diusim and Jiangshan Beauty, and the other is the colorful martial arts movie trend brought by having a drink with me and a one-armed knife. Before Bernard Shaw, of course, there were martial arts films. In 1950s in Hong Kong, Emei adapted Jin Yong's Legend of the Condor Heroes, which set off a wave of Cantonese martial arts films. However, at that time, the Cantonese opera martial arts films and martial arts scenes were all crude creations of the stage fighting of the Chinese opera, and so was the Ministry. Simple "criticizing the head and sweeping the feet" lacks both realistic persuasiveness and aesthetic feeling.

Xiao is determined to push forward the new martial arts trend. 1965, The Legend of the Jianghu directed by photographer Teng Hung Hsu and The Yuanyang Playing in the Water starring Wang Yu were released, but the results of the two films were not outstanding. Followed by Hu Jinquan 1966' s Come and Have a Drink with Me and Zhang Che 1967' s One-armed Knife, both epoch-making works. Besides being very popular, they also brought many new ideas. "One-armed Knife" grossed more than one million, which made Zhang Che known as a million-strong director. The unprecedented success of the two films not only made Shaw start shooting martial arts films, but also made countless photographers in Hong Kong and Taiwan flock to them.

Looking back at these two films today, there are certainly many backward places. The slow pace is related to the appreciation habits of different times, and the action design is not as clever as the later movies. Special effects are inevitably false; The location of factory scenes is often abrupt. But back in those days, the shock brought by the two films can be imagined: on the one hand, the wide color screen makes the film look magnificent; Elaborate production and simple plot combined with fresh martial arts design are completely different from contemporary martial arts films.

These two films, Hu and Zhang, have also made great contributions to the rise of martial arts films, but their styles are quite different. Come and have a drink with me. It's very particular about production and details. A dress, a thing, a weapon and a headdress are all exquisite. The whole film attaches importance to the creation of atmosphere, which constitutes an important prelude to confrontation and running in the process of fighting. Hu's movements emphasize dynamic beauty, and each stroke is crisp and beautiful. Hu Jinquan is especially good at portraying heroic heroines, and golden swallow, the heroine played by Pei-Pei Cheng, is extremely eye-catching. Pei-Pei Cheng also became the chief martial arts heroine of Shao's martial arts films because of this film. However, Hu Jinquan only made a martial arts film "Come and have a drink with me" in Shaw and left.

One-armed knife is not as exquisite as having a drink with me, but it is more intense and enjoyable. The main plot of the film actually comes from Yang Guo's brokeback in Jin Yong's The Condor Heroes. Zhang Che's many innovations in this film became his later iconic scenes: a big man went shirtless, a bloody battle with his abdomen cut open, and an extraordinary hand-held method to shoot touching scenes, emphasizing the tense atmosphere and dynamic movements. After One-armed Knife, Assassin is about Nie Zheng stabbing Han Huai. It only played once or twice, but the votes were still over one million. Golden swallow (golden swallow), played by Cheng Peipei as golden swallow and Wang Yu as Yin Peng, became a famous work at that time. The refreshing feature of the two movements is that it is very powerful to let the protagonist fly over the head with strength and give a volley blow. In the movie "Gold", a fantastic shot with an inscription on the wall filled the whole picture with Chinese characters, and a man in white was naked, independent and very artistic. Zhang Che's films are famous for their masculinity, full of rugged and heroic beauty of men. The battle is particularly fierce, and the protagonist often ends up with dozens of enemies, covered in blood. Zhang Che's success has a unique factor, that is, he especially respects the blood and courage of young people. The mid-1960s was the beginning of the rise of youth culture. In the martial arts films of the same period, it is often the old man who plays the best, and in the end it is often the two old men who decide the outcome. However, Zhang Che said, young people defeated the powerful old people and gave full play to the young people's blood. No wonder the hero of one-armed knife is called "Fang Gang". Zhang Che's films have shortcomings other than roughness, and they are often overplayed and constantly fought bloody battles. Like golden swallow, Wang Yu was seriously injured in the decisive battle with Luo Lie and had to fight with all his subordinates until he died. Excessive fighting can be really boring sometimes.

After making three films, Zhang Che became Bernard Shaw's prolific and most assured director. He made many male stars popular. He made Wang Yu a superstar in the first round, and Luo Lie later became famous for his performance in Chang-hwa Jeong's The First Boxing in the World. After Wang Yu started his own business, Zhang Che became popular in John Chiang and Tommy Tam with films such as Dead Corner, Revenge, Thirteen Pacific Insurance () and New One-armed Knife. John Chiang is not tall, but there is a young man who is not afraid of smallness and sharpness. And Tommy Tam, handsome, tall, hard-working, good at playing a cool role. John Chiang first became popular in 1973, but Tommy Tam played the villain Ma Xinyi in The Thorny Horse. His sophistication made him stand out, and later he became the chief student of Bernard Shaw. After John Chiang and Tommy Tam, Zhang Che won the Chen Guantai Prize in 1972 with Ma Yongzhen, Hongquan and Wing Chun in 1974 and Hongquan Kid in 1975.

During this period, Shaw made many martial arts films, and almost all directors made martial arts films. In Shao's martial arts films, techniques such as hanging and trampoline are used more and more skillfully. In order to show his production strength, Xiao prefers to have the protagonist gallop over Ma Zaishan's head at the beginning of the film, set the action with a condenser, and make the opening subtitles, which is quite imposing. In addition to the famous actor in Zhang Che, the most popular one is Peicen, the marquis of Wu. His films Poisonous Dragon Pool (), Wild River Girl () and Five Tigers Slaughtering Dragons () are not worse than those starring Wang Yu and John Chiang. The most popular martial arts director is Luo Wei, whose tickets for Poisonous Dragon Pool and Five Tigers Slaughtering Dragons are not under Zhang Che. One of the selling points of Dragon Pool is the dragon appearance made in trick photography. Another director worth mentioning is Cheng Gang. In his 70-year-old Twelve Gold, he said that the chivalrous man stopped Qin Gui from calling Yue Fei with a gold medal, and the directors and directors were all up to standard. Although his 1972 Fourteen Woman was adapted from historical romance and Peking Opera, fighting also became a martial arts film. It also shows the strength of shooting big production.

The appearance of Bruce Lee in 197 1 led to the gradual retirement of martial arts films in Gu Jian, Gu Jian, and was replaced by martial arts films from boxing to meat. Shaw supported the directed and performed Bow in Zhang Che, and the film is still released by Shaw in Hong Kong. Fang Shiyu and Hong Xiguan (), the five ancestors of Shaolin (), Hong Quan and Wing Chun, and the boy Hong Quan directed by him once again led the trend, and kung fu films dominated by Lingnan Boxing School became popular. "Fang" is the first film in which the protagonist plays a few real kungfu tricks in front of the original work, which strengthens the protagonist's sense of real kungfu, and also becomes a typical way of dealing with kung fu films in the 1970s, from which Tsui Hark's title actually comes.

Zhang Che returned to Shaw after losing the election in Taiwan Province. Liu Jialiang, who has been his martial arts director since One-armed Knife, began to be the director of Shaw. Liu is a native of Hongquan and a direct descendant. The main movies are Shaolin Boxing and Hong Boxing. 1976, Liu and Lu acai established their position together. After Hong Xiguan () and Shaolin Thirty-six Strategies (), Liu Jialiang is best at using different martial arts designs to show the power of Hongquan and the originality of various movements. The wonderful use of three sticks in Shaolin's thirty-six plans is one of them. His later masterpiece is "Five Lang Bagua Stick" ("Five Lang"), which tells the story of how Yang Wulang transformed the Bagua Stick from Yang Jiapao, which is the last glorious period of the studio style.

In the 1970s, with the rise of martial arts TV series, Shaw also re-filmed many martial arts films in ancient costume. When Jin Yong's martial arts drama achieved unprecedented success on TV, martial arts movies were Gu Long's world. Gu Long's first film should be Xiao Eleven Lang directed by Teng Hung Hsu, but the response was mediocre. It was not until 1976 that the adaptation of Gu Long's films became fashionable, and Chu Yuan's adaptation was one of them. As early as 197 1 year, when Chu Yuan joined Shaw, he had already made a martial arts film "Fire and Immersion". The film tells the story that different characters are trying their best to win a batch of gold. There is no good man in the whole film, which shows Chu Yuan's love for bizarre plots and his martial arts style of mocking human nature. At that time, his idea was too new to accept. Then in 1972, a martial arts film "Love Slave" with homosexuality as the theme was filmed. Kong-Kin Yau's scripts with different colors made it an odd number of martial arts films at that time. It was not until Liu that the martial arts films became a hit. Chu Yuan alone has adapted more than ten films of Gu Long's novels. The best should be Liu, Tian and Chu Liuxiang in 1977. The plot is fantastic and unexpected. Lively rhythm; The language is not surprising, and the whole has created a novel aesthetic style. Wu Zhi of Chia Tang has some surprises in weapon design. In the movie "Heaven", the combination of Fu Hongxue's handle and knife can be said to be the best weapon design in martial arts films.

During the same period when Chu Yuan adapted Gu Long, Bernard Shaw also adapted most of Jin Yong's novels into movies, taking advantage of the upsurge of adaptation of Jin Yong's novels into TV series. Zhang Che, who returned to his nest, made three episodes of Legend of the Condor Heroes (-), Legend of the Flying Fox (), Legend of the Condor Heroes () and many other films. Other directors such as Huashan, Chu Yuan, Zhong Sun and Tun Fei Mou adapted Jin Yong, but the results were not satisfactory. During this period, it is worth mentioning that Gui Zhihong directed a martial arts film "Ten Thousand People Cut", which was a blockbuster. Photography is excellent, creating a cold and deep atmosphere. Unfortunately, after the failure of voting, Gui Zhihong never made a martial arts film again.

During the nearly 20 years from the mid-1960s to the early 1980s, the martial arts films and kung fu films made by Shaw played a very important role in Hong Kong films. Many Hong Kong film talents have worked for Shaw. Heroic sons and daughters not only helped shape the two or three generations of boys who grew up in those years. Today, if we watch them again, maybe some places will make us laugh, but there are still many movies that will make us feel the heroic spirit and magnificent actions.