It is also about Zen causality, the resolution of good and evil, and the game world of Huigen Living Buddha. However, a great man with great wisdom is obviously different from Jigong who lived in Du Qifeng 10 years ago. Li Xiuyuan used to be a golden arhat, but he died. He has long realized that everything is empty, and his character belongs to the concept first and cannot be deepened and changed. The great man only realized this realm twice, and the process of enlightenment alone was thought-provoking: although he knew the karma of past lives, he could not understand the Zen machine of "putting down the butcher's knife and becoming a Buddha" Because of this, although the big guy saved Fengyi Li twice, he still decided that she could not escape the karma of the causal cycle. On the contrary, Fengyi Li used his heart and wisdom to see through the causes of life and death, good and evil. In the end, though born to die, he sacrificed his life for righteousness, enlightened the understanding of great people and improved his practice.
After talking for a long time, the story is actually very simple. Besides, the popular point is when to use killing and revenge to oppose killing. Movies with this philosophy as the theme are not uncommon, but it is a pity that it is difficult to attract widespread attention at the box office. Du Qifeng and Wei Jiahui, the directors of "Even the wisest man is foolish", made a large-scale commercial package for the film just to avoid the situation of high and few songs. The most successful move was to create the special effects of Andy Lau's "big muscle suit" and his stunts such as lap dancing and streaking, which made the audience mistakenly think that "Big Man with Great Wisdom" was still a commercial comedy like Wei's "Slimming Men and Women" and had to watch the whole film.
The director's good intentions and compromises are certainly commendable, and Andy Lau's great sacrifice for the film is even more rare. But what the audience will finally remember is not only the "muscle costume" that looks fake when running, but also the barbaric costume modeling in the second half and Andy Lau's increasingly superb acting skills. Of course, we can't forget the heroine Cecilia Cheung. In addition to the "self-destructive image" of her head, her loving role as an ordinary policewoman is enough to prove that she is by no means an idol who eats youth.
As for the style treatment of Men of Wisdom, it should be a brand-new attempt by Du Qifeng and Wei Jiahui on the original basis. There is a long-lost galaxy image style, such as the process of detective shooting, such as the strange variation of action pursuit scenes, such as the fatalism that is constantly emitted. Similarly, there is Du Qifeng's past "hero trio" urban martial arts. For example, a martial arts expert with the magical power of shrinking bones and loach competes with big men in modern stations and buildings. It is worth mentioning that this "urban martial arts style" has gradually evolved into a "magical reality style" after being brought into the Galaxy image by Du Qifeng. For example, in Dark War 2, Ekin Cheng plays a thief who escapes from a building 100 feet high, while in PTU, ponytails can still run around the street with deadly knives.
Furthermore, in order to find a balance between business and otherness and make a new meaning, the big man with great wisdom has added too many genre elements. Action shootout, suspense thriller, romantic comedy, bloody horror and philosophical drama can not only enhance the popularity, meet different tastes of the audience, but also put forward extremely high requirements for the director's comprehensive control ability. Now, it seems that the former should do it, but the latter is a little overwhelmed. The complexity of the genre leads to the cracking of the style, especially before and after the two paragraphs suddenly changed from action love comedy to thriller suspense bloody, and the style difference is very obvious, which will make many viewers feel unaccustomed and uncomfortable. However, the author thinks that the horrible and bloody situation in which Fengyi Li was beheaded by a fugitive is not acceptable to the public, and the forgiveness at the end is understated, but it coincides with the way that Zen first exaggerates the misery of the people trapped in A-nose Hell, and then promotes the Buddha's nature and the supremacy of Bodhisattva, not to mention the plot of a great man who "stops killing" against monsters-although this paragraph is a bit deliberate, it seems that the handling by Hong Kong directors is the foreshadowing.