Recommend some good domestic movies

Twelve Representatives of New Martial Arts Movies

When it comes to new martial arts movies, it is natural to mention "Shaolin Temple", "One-Armed Sword", "Longmen Inn" (old version), " "Drunken Master" and other films are behind, and starting from 1990's "The Swordsman". Most new martial arts movies are based on martial arts novels that have already been filmed. What distinguishes them from the original "martial arts" movies is mainly the new visual changes brought about by martial arts design and photography. The new martial arts movies developed around 2000, and films such as "The Storm" and "Heroes" adapted from popular comics even used popular digital special effects to interpret the fighting parts of martial arts movies in a more magical way. In fact, the latest variants of these martial arts films, their stories, characters, backgrounds, visual effects, and shooting methods have evolved to be very different from most of the so-called "new martial arts films" mentioned below. If it were not for such super "luxury" If the "type of movie has not become the mainstream of martial arts movies, then it is definitely qualified to be called a "New Comic Martial Arts Movie" or something like that. The following article will mainly select and review 8 representative "model films". On the one hand, it will review the history and classics of new martial arts movies, and on the other hand, it will also discuss the gains and losses of new martial arts movies

1. Laughter Proud Jianghu

Hong Kong 1991 Director: King Hu Executive Director: Tsui Hark, Cheng Xiaodong, Li Huimin

Starring: Xu Guanjie, Zhang Min, Ye Tong, Jacky Cheung

Taiwan's great director Hu Jinquan became famous in the world of film circles in the 1970s with "The Rain in the Sky" and was named one of the top six directors in the world in 1976. Hu Jinquan is very accomplished in using the lens to express the artistic conception of traditional Chinese calligraphy and painting. Several of his masterpieces have been recognized by the world. This adaptation of "The Swordsman" based on Jin Yong's masterpiece is also his last work, setting the stage for new martial arts in Hong Kong and Taiwan. Movies blazed new trails.

The film is unable to describe too much personal psychology and spirit like the novel. Linghu Chong is a shrewd and cunning portrait; Yue Buqun just had to write "I am bad" directly on his face; Yingying is probably even worse It disappoints the readers; Zuo Lengchan does not have the heroism and ambition in the original work at all, and even the gloomy and coldness does not capture its essence; as for the father-in-law characters that are not in the original work, they are even more stereotyped.

Apart from these shortcomings in the drama, the film has a lot to praise in terms of the visuals and the creation of the atmosphere. Not long after the film started, Eunuch Gu led his troops to surround Lin Zhennan's dyeing workshop. The superimposition of several shots that were very rich in the artistic conception of Chinese paintings left a deep impression on people. The same goes for Zuo Lengchan's appearance. The shot from above shows a flock of frightened birds crossing the sunset on the cliff, and several black shadows flying down. The few shots create an excellent atmosphere. In addition, reciting poems, dancing with swords, singing on boats, etc. are all behaviors and behaviors of traditional Chinese elegant people.

The martial arts design of the film is freehand, which does not deify Chinese martial arts but basically conforms to the original work and the image of ancient knights. Without excessive use of stunts, the film's martial arts still satisfied many viewers. In the film, Linghu Chong's Huashan swordsmanship, which "can be seen as the top of the mountain, and the mountains are small," and Zuo Lengchan's pursuit on the lake, are both visible. Designed with care. Although Linghu Chong's Dugu Nine Swords at the end is worse than the original Shenlong's missing head and tail, it is still considered original.

2. The Unbeaten East

Hong Kong Producer: Tsui Hark Director: Cheng Siu-tung

Starring: Brigitte Lin, Jet Li, Rosamund Kwan

After Mr. Wu's death, producer Tsui Hark and action director Cheng Siu-tung once again shot the sequel "The Invincible". In fact, since it is a sequel, the plot has changed a lot. Mr. Jin Yong's original work only shows its shape. The essence of the novel can be said to be lost. Even if it sounds good, it has changed a lot. However, the film's visuals and martial arts are excellent. It has once again set off a new climax in stunt martial arts movies, and it has become a film worth mentioning.

In this sequel, there are almost no absolutely positive characters, it is just a situation of heroes vying for power and hegemony. This also reflects the different sense of the times between the two generations of directors. In the film, not only Dongfang Bubai and Ren Woxing each have their own ambitions and excuses, but even the protagonist Linghu Chong acts on his own initiative without caring about the moral consequences. Upon closer inspection, it was found that Linghu Chong knew Yingying first, and had a bad relationship with Dongfang Bubai. Finally, he seemed to have traveled east to Fusang with his younger junior sister to live in seclusion. He was really a prodigal and was being disloyal. He even caused the death of a group of fellow disciples on the eve of his retreat for his own selfish reasons. Although it was an unintentional act, it could still be considered unjust.

Tsui Hark was obviously dissatisfied with the simplistic and idolized description of Linghu Chong's infatuated character in the original novel, so he added these emotional entanglements. The evil relationship between Linghu Chong and Dongfang Bubai also made Dongfang Bubai really Undefeated laid the foundation.

Jet Li's martial arts moves need not be said much, but his acting skills are far inferior to his kung fu, and his depth is needless to say. The complex relationships between the characters alone are enough for him to deal with. Brigitte Lin always played some shady characters in the 90s, but no matter how you look at it, she is just pretending. She should still play her beauty. Even if she is a little older, she can play a MILF beauty. There is no need to play these half-men. The unfeminine monster was ridiculed by Stephen Chow in "The Cult of the Dragon".

Guan Zhilin is still pitifully playing the role of a good beauty, and she has been a flower vase for many years. Although her role this time is also a master of dancing and swordplay, and even a strong woman like a "stall owner", she failed to achieve anything in the end.

, Dragon Inn

Director: Li Huimin Cheng Xiaodong Starring: Tony Leung Ka-fai, Brigitte Lin, Maggie Cheung

It should be said that this film is a rare seriousness among modern new martial arts films. This work, from the subject matter to the script, from the theme to the details, is a classic filmed with a serious attitude. The film is a remake of the 1980s classic of the same name by Taiwanese martial arts master King Hu. It basically respects and retains the rigor and heaviness of the original work of that era, and combines it with exciting modern martial arts shooting methods to create a new version of the martial arts classic.

The eunuch rebellion in the Ming Dynasty and the dispute between the East Factory and the West Factory were the favorite historical backgrounds of martial arts novels and martial arts movies for a period of time. Loyal ministers, warriors, and women were all in this cruel historical environment. To be tested, of course there will be sycophants, thieves, lackeys and traitors. Complex human nature is extremely simplified in the cruel external environment, and the characters can be directly defined as good guys and bad guys, with clear distinctions, which is very suitable for the requirements of martial arts movie audiences to enjoy gratification through the film. What makes "Dragon Inn" different from, or surpasses other similar films is that it shows the complexity of human nature - although it is still simple compared to so-called "artistic films".

Speaking of showing the complexity of the character's psychology, it is mainly revealed by the role of Jin Xiangyu played by Maggie Cheung. This character with a distinct personality cannot be classified simply as "good" or "bad". In the small space of "Dragon Gate Inn", Zhou Rui'an is dealing with two heroines and the pursuit of the government. Whether he can protect the lives of two weak people and leave safely is really a great suspense. The suspense makes the plot full of tension. Under the influence of suspense and tension, various plot details are naturally arranged with ease, and the characters' personalities are fully displayed.

The excellent character creation is one of the success factors of this film. Tony Leung Ka Fai, Maggie Cheung, Brigitte Lin, and several supporting actors, none of them are vague and meek, and all of them can leave a deep impression on the audience. . For a martial arts movie, after the audience is satisfied with the temporary visual pleasure, it can still make people remember so many characters, that is enough.

4. The Legend of the White-haired Witch

Director: Yu Rentai Starring: Brigitte Lin, Leslie Cheung

The new version of "The Legend of the White-haired Witch" has completely separated from the old version appearance, and is presented to the audience as a "new martial arts movie". Zhuo Yihang, played by Leslie Cheung, is no longer the cowardly person in the old version who dared not go too far, but a heroic young man who is capable and responsible. The psychological contradictions and conflicts also appear to be full of weight, and the conflicts are more real and intense. It should be said that the general improvement of audience appreciation has played the most direct role in the breakthrough and change of martial arts films. The story is no longer simple, the characters are no longer simple, and the conflicts and entanglements are no longer simple. This is where martial arts films should break through. When the film was released, it was claimed to have a passionate scene between two big stars, and it was regarded as a breakthrough for new martial arts films. Although this kind of promotion is understandable, in fact, the so-called "passion scene" was nothing more than that, exciting thousands of viewers in vain.

At the same time, The Legend of the White-Haired Witch is also extremely exquisite in terms of picture production. The costumes and settings have completely broken away from the traditional martial arts film model, making full use of lighting to create gorgeous effects, and using them almost like a monster film. The method manages the martial arts world between reality and imagination.

5. The Three Heroes of the East

Director: Du Qifeng Starring: Anita Mui, Michelle Yeoh, Maggie Cheung

New martial arts films began to expand their territory into modern cities, starting from comics This trend that started satisfies the audience's curiosity for fists, swords and machine gunners to fight. The different environments between modern cities and ancient times can also provide more novel stimulation for new martial arts movies that pay attention to visual effects.

However, after all, modern cities are not the best place to dance with swords, so it was not until "The Three Heroes" that the best version of the new martial arts movie was shown. The "Three Heroes of the East", their identities are like Superman, Batman, Spider-Man, and The Flash. In short, countless examples of "heroes doing justice" in modern cities in this model can be found in Western comics. This has laid an extremely good foundation for the Three Heroes of the East to be accepted by more audiences, even Western audiences. The dazzling visual effects of modern Eastern martial arts films have also brought richer visual stimulation than films such as "Superman". The functions of warriors, dancers, and martial arts can all be accomplished by special effects, and the physical beauty will bring the most direct visual enjoyment.

In the film, three slightly older beauties collaborated to complete a duel against evil forces, forming the "Three Heroes of the East" in modern urban legends. At the end, the three sisters are all dressed in ordinary clothes, with black windbreakers, which is completely inspired by the comics, and also creates a visual trademark for "The Three Heroes of the East". Hundreds of years old demons, invulnerable guards, and invisibility cloaks all bring a certain degree of magic to the film, and also pave the way for more visually stunning stunts. However, these overly mysterious settings also greatly reduce the credibility of the film, making it less watchable than the new costumed martial arts films.

6. "Tianshan Child's Mother"

Director: Qian Yongqiang Starring: Brigitte Lin, Gong Li

In fact, "Tianshan Child's Mother" is basically a negative film Selected for teaching materials. After a period of proliferation of new martial arts movies, it’s time for innovation and change. A large number of films with very similar themes, themes, characters, stories, stunts, and even combinations of male and female actors have flooded the screen in just a few years, making audiences who were originally very interested also tired of the clichéd martial arts screen. Therefore, increasing stimulation has become the most common method used by producers and directors, and "Tianshan Child Mother" is the most prominent one.

Watching Gong Li and Brigitte Lin flying in the sky, strafing and bombing like fighter jets, it was like a martial arts version of "Star Wars". The story of "Dragon Babu" has been changed into a mess, not to mention the complex themes of human nature.

"Tianshan Tonglao" marked the low point of the new martial arts movies. It was not until the greater addition of computer stunts that the new martial arts comics were able to push the new martial arts movies to a climax. However, this new climax also aims at visual impact. Although the stories based on martial arts comics have certain novelties, they also tend to be more simplified. The development direction and duration of this new climax remain to be seen, but one thing is indisputable: if the new martial arts movie only emphasizes martial arts but not martial arts, and only focuses on visual effects but not story themes, then it will not be very big. With the development and progress, it will be eliminated soon

7. Fengyun

Director: Liu Weiqiang Starring: Ekin Cheng, Aaron Kwok

With the latest computer stunts, complete "The Storm" may be the first "New Humanity" martial arts movie adapted from a comic book. Although there is no detailed research, there is probably no objection as the first part is the most famous.

First of all, as a "blockbuster" stunt martial arts movie, the martial arts scenes in "The Wind and Cloud" can be said to be painstaking, using all kinds of special effects that computers can provide to break the inherent pattern of martial arts design in previous new martial arts movies. . The interception on the lake, the duel between the masters who left the body, and the final duel are all ingenious and unique, fully exploring the function of computer stunts in martial arts. Compared with the classic "new martial arts movies", the most significant difference between this kind of martial arts movies belonging to the 21st century is the extensive use of various computer stunts. Not only were the martial arts scenes mentioned above a great breakthrough, but most of the light kung fu and body movements in the film were also performed by computers. In addition, scenes and passages dedicated to showing stunts such as life charts and monsters were specially added.

Perhaps, it is unnecessary to be so picky about a comic martial arts movie that is purely based on visual stimulation, but for me, a movie can be considered worthwhile if you can still have some aftertaste after it is screened. fare. The visual impact that is too plain and superficial cannot be compared with one's own rich imagination potential. It is not much different from eating a weird-shaped fast food bread.

8. Hua Yingxiong

Director: Liu Weiqiang Starring: Ekin Cheng

Although the story is pure nonsense and there are countless loopholes, the visual effects of the film are absolute "unprecedented". At this point, this "Chinese Hero" is really comparable to the aforementioned "Tianshan Tonglao". The entire film is so mired in splendid stunt scenes that it is difficult to extricate itself, so that the story, structure, image, character, contradiction, and almost all other elements of the film are paralyzed by the radiance of the "Chinese Hero".

Such a film once again shows that stunts alone cannot make a successful new martial arts movie. It is better to work harder on the story, the characters, and the word "xia".

9. Crouching Tiger, Hidden Dragon

Director: Ang Lee Starring: Chow Yun-fat, Michelle Yeoh, Zhang Ziyi, Zhang Chen

Seeing the Columbia logo appearing in the title, I don't know whether I am excited or desolate. What is exciting is that a Taiwanese is using American funds to film a traditional Chinese story, and what he is pursuing is the most Chinese flavor - at least there is such an attempt. The sad thing is that American Hollywood has already invaded the deepest hinterland of Chinese films. If Chinese filmmakers don't work hard, sooner or later the Americans will take over your market and voice.

It is easier said than done to achieve poetry in simplicity. It can be seen that Ang Lee did make his own efforts in handling the martial arts scenes. Except for the obvious hanging of steel wires flying over the walls, each martial arts scene pays equal attention to reality and reality, emphasizing both artistic conception and realism. Yuen Woo-Ping demonstrates his uniqueness as the number one martial artist in Hong Kong martial arts films.

Let’s look at Ang Lee’s drama again. Wang Dulu's original work originally focused on literature, combining martial arts novels with romance novels, and changing the old martial arts framework that only used stories to create conflicts into a new novel style that relied on characters to create conflicts. This can not but be said to be a breakthrough at the time. breakthrough. When martial arts movies were popular in the past few years, most of them were still in the old-fashioned martial arts "story" mode. With Ang Lee's hands, this film has happily become a truly "wenwenyongwu" martial arts movie. In this "literary" martial arts story, Ang Lee reflects his concern for "people" in the martial arts world.

But there are also some regrets in the film.

First of all, the description of the character of Jade Dragon is crude and crude. It only emphasizes her willfulness and lacks explanation and depth of her own sorrow. Not to mention Luo Xiaohu's late appearance, the display of characters and personalities is more superficial, and even a bit inexplicable in many cases. The main characters of the film have been changed from the Jade Dragon and Luo Xiaohu in the original work to two pairs of lovers who set off each other in the same tragedy. The inner portrayal of the Jade Dragon is insufficient (it must be said that this is related to Zhang Ziyi's performance), which will inevitably lead to The entire film is unbalanced. At the end of the film, after a night of romance between the Jade Dragon and Luo Xiaohu, he sacrifices himself by jumping off a cliff (in the original work, Yu takes the name of sacrificing himself by jumping off a cliff, and escapes without a trace after a night of romance with Luo Xiaohu), using his life to atone for his sins as a "chivalrous person" and to Life escapes its own love tragedy. Although we can understand the director's intention at this time, it also really exposes the mistakes and carelessness in the adaptation.

Finally, it is worth mentioning that Tan Dun’s music is just right in exaggerating the atmosphere and enhancing the drama. It doesn't seem to overwhelm the guest, but it also makes people feel it. It really captures the essence of film music.

10. Flying Dance

Director: Jin Rongjun Starring: Shin Hyun-jun, Kim Hee Sun, Wang Yanan

A Korean movie "Flying Dance" once again gives us hope .

Strictly speaking, this film is not very good. The mixed martial arts of Japanese and Hong Kong styles, the very classical and traditional love tragedy, and the forced historical background may not make us old-timers. Qualified martial arts fans are excited, and the crazy sales in South Korea are just to bluff their domestic audiences. But what really makes us happy is that martial arts films are blossoming in Korea. This big-budget martial arts film, which is billed as the Korean version of "The Storm," also has many things that deserve the attention of domestic film workers and fans.

First of all, it is a tragedy. There were too few previous martial arts films that could be called tragedies, and we have seen two of them this year. Secondly, it is a romance film. In the past, the love component in martial arts films was mostly an auxiliary accessory, but this is a martial arts film that truly uses love as the theme and depicts it positively. Ultimately, this is a love tragedy movie set in the martial arts world.

The story frame of the film has many traces of Chinese martial arts novels and old martial arts movies, such as Fighting for Martial Arts Secrets, The Orphan of the Exterminated Family, The Nangong Family, etc.; and the fight design is basically based on the new martial arts movies. But in terms of scene atmosphere, it is based on the style of Japanese swordsman movies. Absorbing the essence of martial arts films from various countries does not mean that it does not have its own style. Being able to harmoniously integrate these elements into a film will form its own uniqueness.

In this film, which is promoted as the "Oriental version of Romeo and Juliet," the director tried to add some modern consciousness to the male protagonist Jin Ha to enrich the character and strengthen the dramatic conflict. Unexpectedly, it seems to be self-defeating. For a long time in the middle of the film, Jin Ha's thoughts and actions are so complicated that it is difficult to sort them out, and there are obvious traces of axe-cutting, which is a major flaw of the film.

11. Ashes of Time

Director: Wong Kar-Wai Starring: Leslie Cheung, Tony Leung Ka-fai, Tony Leung, Jacky Cheung, Maggie Cheung, Joey Wong, Brigitte Lin, Carina Lau, etc.

"Eastern Evil" "Evil West Poison" is an anomaly among the new martial arts movies. It uses martial arts as a shell, but it describes the emotions, confusion, alienation, and alienation of modern people.

As a new martial arts film, "Ashes of Time" borrows and reshapes important characters from Jin Yong's works that have been regarded as "collective myths", and reconstructs itself in the form of a prequel. A unique world of martial arts. Although there are martial arts, knights, righteous deeds, and love and hatred, the structure, theme, narrative method, and expression of the entire film are very different from ordinary martial arts movies.

The pictures in "East" have a strong sense of form. Although Du Kefeng is a foreigner, he is quite accomplished in creating oriental aesthetics. His photography effects are considered among the new martial arts movies that originally emphasize pictures. The most outstanding one is almost catching up with Italian Straro.

Of course, the most important thing is the content, or theme, of the film. In the "East" film, almost all the traditional themes no longer exist. To some extent, the "East" film can be seen as a discussion and reinterpretation of Jianghu and knights. The film uses a "prequel" This form itself carries the intention of tracing the roots. Everyone enters the Jianghu for various reasons, mostly because of love, which is the characteristic and symbol of Wang's Jianghu. At the same time, these love behaviors themselves are also exclusive forms with Wang's label - rejection and rejection. Under the cover of martial arts and Jin Yong's banner, the children of Jianghu have become the self-pitying and self-pitying white-collar class in modern cities, playing a confused game of love while secretly advancing and retreating.

"Ashes of Time" opened up a new path for martial arts films, but this not-so-narrow road has so far been sparsely traveled, but it has made another "alternative new martial arts film" "The East Becomes the West." Just took advantage of the loophole.

12. East Comes West

Director: Lau Chun Wai Starring: Leslie Cheung, Tony Leung Ka Fai, Tony Leung, Jacky Cheung, Maggie Cheung, Joey Wong, Brigitte Lin, etc.

"Xijiu" is classified as a new martial arts movie. Even as an alternative, it is a bit reluctant and even a bit selfish.

This super funny film, which also poses as a "prequel to The Condor Heroes", is a completely negative solution to the somewhat over-the-top "Ashes of Time". All the serious or seemingly serious postures in "Ashes of Time" were pulled down in "Ashes of Time" to reveal shriveled thighs and dirty underwear. "East and West" has become a weapon of ridicule for the urban white-collar class by the small bourgeoisie, and has also become a self-deprecating tool for those of us who are in between.

If there is indeed a pretentious petty bourgeoisie mentality in "Ashes of Time", then "Ashes of Time" completely ridicules the parts of it that are like a monkey. Many celebrities who were serious in "Venom" have returned to the funny characters we are used to in "Achievements", and have returned to the faces of ordinary citizens that we are more familiar with. After all, these are no longer heroes and gangsters. It's time.

The frank and frank embroidery of fists and legs in "East and West" and the use of stunts that almost expose one's shortcomings are instigators of the entire new martial arts film. In the film, Brigitte Lin's "Phaseless Magic Kung Fu" is really without a phase. The fight between Leslie Cheung and Tony Leung Ka Fai with a flick of the finger and Yang Finger is clearly a gun battle. It can't be more clear to you how the new martial arts movie is made. As for the "Sentimental Knife", "Eye Eyes and Swords", and "Fire Palms", they not only mock the entire new martial arts movie, but also point the finger directly at the instigator, Jin Daxia. The old naughty boy seems to have practiced swordsmanship with leather shoes and still has an affair with his senior brother. The effeminate Nan Emperor finally ascended to heaven and became Jigong. The Nine Yin Sutra was originally engraved on the toilet. There are a lot of ridicules like this that make people laugh wildly and find it hard to Enjoy.

Of course, "Achievements" has no ambition to dissect and fight "evil poison", let alone revolutionize the life of martial arts movies. People just play for fun, but for those of us who are watching From the perspective of readers, perhaps these people who are mocking themselves and us for "making" new martial arts movies are announcing the decline and end of the new martial arts movie era.