Recommended a few good-looking domestic movies ah!

Twelve Representatives of New Wuxia Movies

Mentioning new wuxia movies, it's natural to leave behind films such as Shaolin Temple, One-Armed Sword, Dragon Inn (the old version), and Drunken Fist, and to count from 1990's The Smiling Pride of the Wanderer. Most of the new wuxia movies were based on already filmed wuxia novels, but what distinguished them from the original "wuxia" movies were the new visual changes brought about by the design and cinematography of the fights. The development of the new martial arts movie around 2000, adapted from popular comics, such as "Fung Wan", "Chinese Heroes", etc., is the use of popular digital stunts, in order to interpret the martial arts part of the martial arts movie in a more magical way. In fact, the stories, characters, backgrounds, visual effects, and filming styles of these latest variations of martial arts films have evolved to be very different from most of the so-called "new martial arts films" mentioned below. If it were not for the fact that these super "lavish" films have not become the mainstream of wuxia movies, they would definitely qualify for the title "New New Manga Wuxia Movies". The following will be selected representative of the eight "sample films" to comment on the one hand, on the one hand, review the course of the new wuxia movie and classic, on the one hand, but also to discuss the gains and losses of the new wuxia movie

1, laughing proud of the Wanderer

Hong Kong 1991 Directed by: Hu Jinquan Executive Director: Tsui Hark, Ching Siu-tung, Li Hui-min

Starring: Sam Hui, Cheung Man, Yip Tong, Jacky Cheung

Taiwan's great director, Hu Jinquan, in the 70s with the "Rain on the Empty Mountain," famous in the world of cinema, was named one of the world's top six directors in 1976. In the use of the camera to express the mood of traditional Chinese painting and calligraphy, Hu Jinquan profound attainments, his several masterpieces have been recognized by the world, this based on Jin Yong's masterpiece "The Smiling Proud Wanderer" is also his last legacy, for the Hong Kong and Taiwan's new martial arts film to create a new way.

The movie is incapable of depicting too much personal psychology and spirituality as in the novel, as Linghu Chong is a shrewd and slick; Yue Buqun is close to writing "I am bad" directly on his face; Ying Ying is even more disappointing to the readers, I'm afraid; Zuo Lengchan does not have the original's boldness and ambition, and even the grimness and coldness has not yet gained its essence; and the characters of eunuchs, which are not in the original, are even more disappointing. The first time I saw this, I had to go back to my old school.

In addition to these failures, the movie has a lot to live up to in terms of its imagery and atmosphere. Shortly after the movie starts, the ancient eunuchs lead a group of people to surround Lin Zhennan's dye house, and a few Chinese painting scenes are superimposed to give people a deep impression. The same goes for Zuo Lengchan's appearance, where a group of birds on a cliff are shot in an upward direction as they cross the sunset glow, and a few black shadows fly down, creating an excellent atmosphere with few shots. In addition, the poems and sword dances, the singing on the boat, etc., are the behavior of the traditional Chinese elegant and noble people.

The film's martial arts design is deliberate, not deifying Chinese martial arts, but also basically conforming to the original text and the image of the ancient warrior. In the case of not too much abuse of stunts, the film's martial arts is still satisfied with many viewers, in the film, Linghu Chong "will be when the top of the mountain, a glimpse of the small mountains" Huashan swordsmanship, Zuo Lengchan's pursuit of the lake, are very good to see the design of the martial arts with heart. At the end of the Dokuroku Nine Swords of Linghu Chong, although compared to the original writing of the dragon does not see the beginning and end of the poor, but it is also unique

2, the East is undefeated

Hong Kong Producer: Tsui Hark Director: Cheng Xiaodong

Starring: Brigitte Lin, Jet Li, Kwan Zhiling

In the wake of Mr. Hu's death, the supervising producer Tsui Hark and the director of the action Cheng Xiaodong once again filmed a sequel film

The East is not defeated, but the East is not defeated, but the East is not defeated. The East is Undefeated". In fact, the plot has changed a lot since it was said to be a sequel. Mr. Jin Yong's original novel has only taken shape and the essence of the novel has been lost, which is a big change to put it nicely. However, the movie's graphics and martial arts fights are considered outstanding, once again setting a new high for stunt martial arts movies, and making it a movie worth mentioning.

In this sequel movie, there are almost no absolute positive characters, just a jianghu power struggle of the lords to fight for the situation. This also reflects the different sense of the times of the two generations of directors. In the movie, not only Dongfang Bubo and Ren Weixing have their own ambitions and excuses, but even the protagonist, Linghu Chong, acts rashly, regardless of the moral consequences. On closer inspection, this Linghu Chong and Ying Ying acquaintance in the first, and the East has a sinful relationship, and finally seems to be and the little sister east Fusan retreat, really a prodigal son, is disloyal. Even for his own selfishness even dragged a group of brothers and sisters killed in the night before the return to the hidden, although it is unintentional, can also be counted as unrighteous.

Tsui Hark apparently dissatisfied with the original novel on the character of Linghu Chong infatuation simplistic, idolized portrayal, and increased these emotional entanglements, Linghu Chong and the East undefeatable sins at the same time, but also for the East undefeatable really undefeatable to lay the groundwork.

Jet Li's martial arts moves need no introduction, but the acting is nowhere near as good as his kung fu, and the depth, needless to say, is enough for him to deal with the complexity of the relationships between the characters alone. Brigitte Lin in the 90's is always playing some yin and yang uncertain characters, but no matter how to look at it is also pretending to be, she still play her beauty it, even if a little bit of age can also play the beauty of the Xu Niang half-aged it, there is no need to play these half-male monsters were Stephen Chow in the "Dragon Sect" mocking banter a little bit. Kwan Chi-Lin is still poorly dressed as a good beauty, how many years are vase look, although this time the role is also a master of the dance sword, and even a "stall owner" type of strong women, but ultimately failed to achieve something.

, 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 modern new wuxia film in the rare serious work, from the subject matter to the screenplay, from the theme to the details, are serious attitude to start, shooting a classic. The film is a remake of the 80's Taiwanese martial arts film master Hu Jinquan's classic of the same name, basically respecting and retaining the rigor and heaviness of the original work of that era, while with the wonderful modern martial arts filming methods, accomplishing a version of the new martial arts classics.

The Ming Dynasty, with its castrati rebellions and East and West factories, was a favorite historical background for martial arts novels and movies for some time. Loyal ministers and warriors, as well as women and women of honor, were all put to the test in this brutal historical environment, and of course, there was no shortage of sycophants and thieves, as well as dogged traitors. The complexity of human nature in the brutal external environment has been extremely simplified, the role can be directly defined as the good guys and bad guys, clear-cut, very suitable for martial arts movie audience through the film the requirements of quick revenge. But what makes Dragon Inn different from, or superior to, other films of its kind is the complexity of human nature - although it is still simpler than the so-called "art films".

The complexity of the character's psychology is mainly revealed by Maggie Cheung's role as Jin Xieyu. This distinctive character can never be categorized by simple "good" and "bad". Zhou Rui'an in the "Dragon Gate Inn" this square inch of space, maneuvering between the two heroines and the government pursuit, whether to protect the two small and weak life safely away, is really a great suspense. By suspense and make the plot full of tension, a variety of plot details in the suspense and tension under the role of the natural arrangement of the smooth, the character of the character can also be fully displayed in which.

The excellent characterization is one of the success factors of the film, Leung Ka Fai, Maggie Cheung, Brigitte Lin, as well as a number of supporting roles, none of which are ambiguous and lukewarm, and each of which can leave a deep impression on the audience. For a martial arts movie, it's enough to remember so many characters after the audience is satisfied with the momentary visual pleasure.

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 been completely removed from the old version of the model, and to "new martial arts movie" image in front of the audience. Zhang Guorong played Zhuo Yihang, no longer the old version of coy, dare not step over the threshold of the cowardly, but a heroic young man with a role to play, to take responsibility. Its psychological contradictions and conflicts, also seems to be full of weight, the conflict is more real and intense. It should be said that the audience's general appreciation of the improvement of taste, for martial arts film breakthroughs played the most direct role. The story is no longer simple, the characters are no longer simple, and the conflicts and entanglements are no longer simple, which is where the martial arts movie should break through. When the film was launched, it claimed that there were two superstar passion scenes, as a breakthrough for the new martial arts film, this publicity, although it is not wrong, but in fact, that the so-called "passionate scene" is actually just so, so that thousands of viewers are excited for nothing.

At the same time, the legend of the white-haired witch in the picture production is also extremely exquisite, clothing sets have been completely from the traditional martial arts film mode breakthrough, make full use of the lighting to create a magnificent effect, with almost shooting monster film techniques operating between the real and imaginary world of martial arts.

5, the Oriental three warriors

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

The new martial arts films began to expand their territory to the modern city, from the cartoon trend, to meet the audience on the fist, palm, sword, machine gun and grenade fighting the curiosity of the psychology, and the modern city and the ancient different environments for the new martial arts films to pay attention to the visual effects to provide more novel stimulation. The new martial arts movie also provides more novelty and excitement for the new visual effect movie.

But, after all, the modern city is not the best place to dance with swords, so it was not until "Three Kings of the Orient" that the best version of this kind of new martial arts movie was shown. "The Three Amigos, as Superman, Batman, Spider-Man, and the Flash are known, in short, are one of the countless examples of Western comics that have used this model to "fight the good fight" in the modern city. This has laid a very good foundation for the Oriental warriors to be accepted by a wider audience, even the Western audience, and the dazzling visual effects of the modern Oriental martial arts films have brought more visual stimulation than the "Superman" and other films. The martial arts function can be accomplished by special effects, while the beauty of the form will bring the most direct visual enjoyment.

In the movie, three slightly older beauties collaborate in a duel against evil forces, forming the modern urban legend of the "Oriental Three". At the end of the movie, the three sisters are all dressed in black trench coats, full of ideas from the comic book, but also for the "Oriental three warriors" to create a visual trademark. Hundreds of years old human demons, sword- and gun-toting guards, and invisibility cloaks all bring a degree of magic to the movie, and pave the way for more visually stunning stunt displays. However, these overly metaphysical settings also make the movie much less believable, and instead, it's a bit more tolerable than the old-fashioned neo-martial arts films.

6. TIANSHAN TONGMU

Directed by: Qian Yongqiang Starring: Lin Qingxia, Gong Li

In fact, TIANSHAN TONGMU is basically as a negative material and selected. After a period of proliferation of new martial arts movies, it's time to look for new ideas again. A large number of films with very similar themes, subjects, characters, stories, stunts, and even combinations of male and female actors and actresses flooded the screen in just a few years, making the audience, who were still very interested, tired of the martial arts screen full of clichés. As a result, the producers and directors have turned to the same means to enhance the excitement, and "Tianshan Tongmu" is one of the most prominent among them.

Watching Gong Li and Brigitte Lin fly around in the sky, strafing and bombing like fighter jets, is simply a martial arts version of Star Wars. The story of Tian Long Ba Di has been changed in a messy way, not to mention the complexity of human nature.

"Tianshan Tongmu", marked the nadir of the new martial arts movie, until the computer stunts more drastically added, the new comic book martial arts was able to push the new martial arts movie back to a climax. However, this new climax was similarly aimed at visual impact, and the stories taken from the martial arts comics, though somewhat new, had a tendency to be more simplified. The direction and duration of this new climax remains to be seen, but one thing is indisputable: if the new Wuxia movie focuses only on martial arts but not chivalry, and only on visual effects but not on story themes, then it will not have much development and progress, and will be eliminated very soon

7, The Wind and the Clouds

Directed by: Lau Wai Keung Main Cast: Ekin Cheng, Aaron Kwok

The newest computer stunts are used to complete a comic book adaptation of a comic book, which is a great success. Although there is no detailed evidence, but counting as the first and most famous, there will be no objection.

First of all, as a stunt martial arts movie "giant movie", "Wind and Cloud" in the martial arts scenes can be said to be painstaking, trying to use the computer can provide all kinds of stunts to break the previous new martial arts movies in the martial arts design of the inherent pattern. The interception on the lake, the duel between the masters with their gods out of the body, and the final duel are all surprising and unique, fully exploring the function of computerized stunts in martial arts. Compared with the classic "New Wuxia Movie", the most significant difference between this kind of 21st century wuxia movie is the extensive use of various computer stunts. Not only is there a big breakthrough in the martial arts scenes mentioned above, but most of the lightweight skills and stances in the movie are done by computers, and there are also additional scenes and passages dedicated to special stunts, such as the fate of the disk and the monsters.

Perhaps it's unnecessary to be so critical of a comic book martial arts movie that is purely about visual stimulation, but for me, it's worth it to be able to savor a movie after it's been shown. The visual impact of a movie that's too plain and superficial is no match for its own imaginative potential, and it's not much different from eating a weirdly shaped loaf of fast-food bread.

8, Hua hero

Director: Liu Weiqiang starring: Ekin Cheng

Although the story is pure nonsense, the loopholes are countless, but the film can be said to be absolutely "unprecedented" in visual effects. In this regard, the movie is a match for the aforementioned "Tianshan Tongmu". The film is caught up in the glittering stunt scenes, so that the story, structure, image, character, conflict, and all other elements of the film are almost completely paralyzed in the light of "Hua Hero".

Such a movie once again shows that only stunts can never make a good new martial arts movie, or in the story, in the characters, in the word "chivalry", put more effort on it.

9. Crouching Tiger, Hidden Dragon

Directed by: Ang Lee Starring: Chow Yun-Fat, Michelle Yeoh, Zhang Ziyi, Zhang Zhen

See the opening credits of the Columbia logo, I do not know whether the heart is excited or miserable. The excitement is that a Taiwanese is using American money to shoot a traditional Chinese story, and the pursuit of the most Chinese flavor - at least there is an attempt to do so. And the bleak is that American Hollywood has attacked the deepest hinterland of Chinese cinema, Chinese filmmakers do not work hard, sooner or later by the Americans to take over your market and the right to speak.

Poetry is born out of simplicity, and it's not easy to do that. As you can see, Ang Lee did make his own efforts in handling the martial arts scenes. In addition to the flying wire hanging too obvious, the various martial arts scenes, both real and imaginary, heavy mood and sense of reality, Yuen Wo Ping showed himself as the first Hong Kong martial arts film martial arts director of the uniqueness.

And then there's Ang Lee's literary drama. Wang Du Lu's original book was originally focused on literature, combining martial arts novels and romance novels into one, and changing the old framework of martial arts, which only utilized storytelling to create conflict, into a new novel style that relied on character to create conflict, which could not help but be a breakthrough at the time. In the first few years when martial arts movies were popular, most of the movies were still in the old-fashioned martial arts "story" mode, but by Ang Lee's hand, this movie has happily become a real "literary and martial arts" martial arts movie. Ang Lee in this "literary" martial arts story, embodied in the world of martial arts "people" attention.

But the movie also has some regrets. First of all, the depiction of the character of Yu Jiao Long is crude, emphasizing only her willfulness, not enough explanation of their own sorrows and pains, not deep. Luo Xiaohu late appearance, not to mention the character image, character display is more superficial, and even many times a bit inexplicable. The main role of the film has been changed from the original Jade Jiao Long and Luo Xiaohu to two pairs of lovers to reflect each other *** with the tragedy, Jade Jiao Long's inner portrayal of the lack of (I can't help but say that this has something to do with Zhang Ziyi's performance), which inevitably leads to an imbalance in the whole movie. The end of the movie is, Yu Jiao Long and Luo Xiaohu after a night of lingering, give up his body to jump off the cliff (the original for the jade to give up his body to jump off the cliff in the name, and Xiaohu after a night of lingering to disappear without a trace), to life to the "chivalry" to atone for their sins, to life to escape from the tragedy of their own love. The first time I saw the movie, I realized the director's intention, but it also reveals the mistakes and sloppiness of the adaptation.

The last thing worth mentioning is Tan Dun's music, which is just right to enhance the atmosphere and drama. It's not overbearing, but it's also palpable, and it's really the essence of movie music.

10. Flying Dance

Directed by: Kim Yong-jun Starring: Shin Hyun-jun, Kim Hee-sun, Wang Yannan

A South Korean movie, "Flying Dance" once again let us see hope.

Strictly speaking, this movie is not very good, with a mix of Japanese and Hong Kong styles of martial arts, a very classical and traditional love tragedy, and a raw historical background, all of which do not seem to thrill us veteran martial arts fans, and the crazy sell-outs in South Korea are just a bluff for their domestic audience. But the real joy for us is that martial arts movies have blossomed in Korea. The big-budget martial arts film, which is billed as the Korean version of "The Wind and the Cloud," also has a lot to offer domestic filmmakers and fans.

First of all, it is a tragedy, before the martial arts film can be called a tragedy of too few, and this year we saw two; secondly, it is a love film, the past martial arts film love component is mostly auxiliary accessory, and this is a real love as the theme of positive description of the martial arts film. In the end, this is a movie that can be called a love tragedy set in the world of martial arts.

There are many traces of Chinese martial arts novels and old martial arts movies in the story framework of the film, such as the fight for the secret of martial arts, the destruction of orphans, the Nangong family, etc.; and the design of the fight is basically based on the new martial arts movies; but in terms of the atmosphere of the scene, it is the style of the Japanese swordsman movies that is learned. Absorbing the essence of the martial arts films of various countries does not mean that there is no style of their own, and being able to harmoniously blend these elements in a movie has formed their own unique characteristics.

In this film, which was publicized as the "Oriental version of Romeo and Juliet", the writer-director tried to add some modern consciousness to the hero, Jen Ha, in order to enrich the character and strengthen the dramatic conflict. Unexpectedly, it was a mistake. For a long time in the middle of the film, Jinha's thoughts and behaviors are so complicated that it's hard to make sense of them, and they also bear obvious traces of axe-grinding, which is one of the major failures of the film.

11. East is East and West is West

Directed by Wong Kar-wai, starring Leslie Cheung, Tony Leung Ka-fai, Tony Leung Chiu-wai, Jacky Cheung, Maggie Cheung, Joey Wong, Brigitte Lin, Carina Lau, etc.

East is East is East and West is West is West is West is East and West is West is East is East and West is West is East and West is West is East and West is West is East and West is West is East and West is West and East is East and West is West and West is East and West is East and West is East and West is East and West is East and West is East and West is East and West is East and West is East and West is East and West.

As a new martial arts movie, The East is the Evil, the West is the Poison borrows and reimagines important characters from Jin Yong's works, which have been regarded as "collective myths," and reconstructs its own unique martial arts world in the mode of a prequel. Although there are also martial arts, chivalry, righteousness, and hatred, the structure, theme, narrative, and content of the entire movie are very different from ordinary martial arts movies.

The East film has a strong sense of form, although Du Kefeng is a foreigner, but in the creation of oriental aesthetics on the attainments of the deep, and its photographic effect in the original emphasis on the picture of the new wuxia film is also considered the most outstanding, simply catching up with the trend of the Italian Stradivarius.

Of course, the main thing is the content, or theme, of the movie. In "East", almost all the traditional themes no longer exist, from a certain point of view, "East" can be seen as a kind of exploration and re-interpretation of the jianghu and chivalry, the film adopts the form of "prequel" itself with the intention of tracing the roots. All people enter the jianghu for a variety of reasons, mostly because of love, which is the characteristics and symbols of Wang's jianghu, and at the same time, these acts of love themselves are also exclusive forms of Wang's label - rejection and rejection. Under the cover of martial arts and the banner of Jinyong, the children of Jianghu have also become the white-collar class of modern city, who feel sorry for themselves and do the confused love game in the cover up and in and out.

"East Evil West Poison" for the martial arts film opened a new road, but this is not a narrow road but so far there are few people, but to let another "alternative new martial arts" "East is West" drilled the hole.

12.East meets West

Director: Liu Zhenwei starring: Leslie Cheung, Tony Leung Ka Fai, Tony Leung, Jacky Cheung, Maggie Cheung, Joey Wong, Brigitte Lin, etc.

The East meets West is categorized as a new martial arts movie, even if it is as an alternative, it is also a bit reluctant, and even a bit selfish. This superbly funny film, which also poses as a prequel to "The Eagle Shooter," is a complete antidote to "East Is West," which is a bit of a flag to the tiger's hide. All the serious or seemingly serious postures of "East is West" are pulled down by this "East is West", revealing shriveled thighs and dirty underwear. East Meets West has become a weapon of ridicule for the common man against the urban white-collar class, and a tool of self-deprecation for those of us who fall somewhere in between.

If there is indeed a pretentious petit-bourgeois mentality in "East is West", then "East is West" is a complete mockery of the monkey's head. Many of the stars in the "evil poison" in a serious star, in the "achievement" in the restoration of our accustomed funny role, and played back to the face of the small people we feel close to, this is after all, is not a warrior cross the giant bandit in the era.

The frankly unprofessional and almost self-evident use of stunts in "East Meets West" is a curiosity about the whole new martial arts movie. In the movie, Brigitte Lin's "no-phase magic power" is really no-phase, Leslie Cheung and Tony Leung Ka Fai, a section of the finger-snapping magic power battle is clearly a gunfight, and then clearly tell you how the new martial arts movie is made. As for the "affectionate sword", "eye to eye sword", "dry wood and fire palm" and so on funny, not only is the whole new martial arts movie mockery, but also to point the finger directly to the initiator Golden Warrior. The old codger is like practicing the leather shoe sword technique and still not getting along with his brother, the effeminate Nandi eventually ascends to become Jigong, the Nine Yin Zhenjing turns out to be engraved on a toilet, and a lot of such banter is hard to stomach while laughing.

Of course, "Achievement" has no ambition to dissect and fight the "evil poison", and even less ambition to revolutionize the life of the martial arts film, but people just look at the fun to play a hand, but in the view of those of us who watched, perhaps these mockery of their own also mocked! Our "manufacture" of new martial arts movie people, it is in the announcement of the decline of the new martial arts movie era and the end.