When I arrived in Andy Lau, I suddenly found that the stars I am most familiar with are Andy Lau. I listen to his songs more than Little Tiger and watch his movies more than Stephen Chow. Moreover, since childhood, the name seems to have been ringing and never stopped. If we say that "there are talents in the circle, leading by three to five years", Andy Lau is more like a legend. He crossed the times and was liked by people of different ages. And all this is due to his charming appearance and hard work spirit! Andy Lau graduated from TVB/KOOC-0/0 artist training class in/KOOC-0/98/KOOC-0/. The first TV series he starred in was "Little Hero on the Flower Boat", and the first one that made him famous was1Falcon, a popular police drama in February 1982. 1982 participated in the first film "Colorful Clouds". 1984 was snowed in by wireless for half a year due to contract disputes. 1985 became active in the film circle immediately after changing visas with wireless. In 1980s, Andy Lau's films obviously had the flavor and shadow of his TV series, such as Hero (1987) and Jianghu (1987). "Andy Lau's performance characteristics have been presented for a long time. I have always thought that he has a' neighborhood flavor' and is particularly considerate when dealing with grassroots roles. For example, when he filmed chasing girls and young people in his early days, he felt like a refugee prince. On the one hand, he is a refugee, but at the same time he has the pride and confidence of the prince's brother. " Deng Tu, vice president of the Hong Kong Film Critics Association, said in an interview. "Now, of course, there are many actors who have this kind of' refugee' flavor, but they lack the star flavor of Andy Lau. In this respect, he is unique. " In the 1980s, when Hong Kong films established local consciousness, this feeling of refugee prince was the development feature discovered by Andy Lau. His role has always been grassroots in nature, but he finally gained the posture of a middle class or a professional and showed his charm on the screen. In the view of Hong Kong film critic Lang Tian, "this corresponds to the frequent flow of the bottom-up class in society, which is in line with the expectations of mainstream movie audiences from grassroots to middle class." "In fact, with the prosperity of the local film industry, Andy Lau itself has become more and more aware of the middle class consciousness and upper-middle class status. From gambler (1989) to gambler (1990), he formally established the position of Chow Yun Fat's successor. 199 1 year, he set up the awning, became the boss of the film company, and began to make "September 1st Hero". Two episodes of "Vegas tycoon" (1992), playing a new brother, directly presented a self-made legend on the screen. Show a complete mastery of upper-class gadgets (from golf to despicable power games); In "Ambition of Heaven and Earth" (1997), Andy Lau played the role of' enterprise elite' and was well received by the audience. " Shu Kei, a senior lecturer at the Hong Kong Academy for Performing Arts, believes that this grassroots quality makes Andy Lau a particularly kind actor. In Shu Kei's view, the most important feature of Hong Kong films is intimacy. One of the reasons for the decline of Hong Kong films is that both the performers and the films themselves have lost their original intimacy. "We all call Andy Lau hanako, and Chow Yun Fat is purple and Tony Leung Chiu Wai is purple. They seem to be a part of our lives. Now new actors, such as Daniel Wu, we will not call him' Zuzai'. " Shu Kei said. "Bad Boy in Love" and "Sad Hero" When Andy Lau first started making movies, he mainly made two kinds of movies, one was chasing girls, and the other was dangerous in youth. Young and dangerous films represent the trend of hero films and Jianghu films in the 1980s. His role in it is generally a punk, and he is such an ICON by his own efforts. "Said the lothario. Some film critics believe that Andy Lau has already established the image of a "soulful rotten man" in Tears Like Rain (1988) and If There is Love in Heaven (1990), and his role is always a myth of life and death, and he is bound to die, which makes this image a romantic hero. "At that time, his film image has always been a tragic hero. This is very similar to the tragedy in Hong Kong in the 1980s, when the whole society was dying. In the 1990s, this tragedy intensified. He also played the role of terminal illness, with an atmosphere close to death. "Said the lothario. Andy Lau's life work "Andy Lau after 90s has played many anti-hero roles. In the whole social background, there were no heroes in the society at that time, and the whole film circle didn't want heroes. For Andy Lau, playing this role well is a breakthrough. From hero to anti-hero, Chariot of Fire is a film with obvious anti-hero. "Andy Lau himself once said that during the transition from hero to anti-hero, he had a period of performance confusion. His heroic image has been deeply rooted in the hearts of the people. In Infernal Affairs, Andy Lau's anti-hero role is a successful model in this respect. Now it seems that his anti-hero interpretation has attracted the attention of more professionals. " Andy Lau's anti-hero movies have a lot to do with Du Qifeng. Du Qifeng doesn't want his heroic side, such as dark war, big guy, infernal affairs. Later, when filming "Full-time Black Boy", he was asked to play a hero, and he said he couldn't go back. "said the lothario." Corresponding to the gradual decline of Hong Kong's film industry, Andy Lau is getting older and older, and the story of the rotten boy is beginning to be lamented by' seeing the sun, shining brilliantly'. Therefore, the dragon Andy Lau (1998) and the gambler 1999 (1998) in the rivers and lakes left the most natural and unrestrained posture on the verge of disappearing; Compared with the high spirits of Las Vegas tycoons, the dragon on the edge has already faced the smell of bad luck. "The film critic Lang Tian once had such an analysis. In the eyes of film critic Li Zhaoxing, whether it is a bad lover or a tragic hero, to some extent, it summarizes Andy Lau's most irreplaceable position in the Hong Kong film industry: such roles are often full of villains and decency. No matter what the occupation of the character is, in short, he is affectionate and righteous, going through fire and water for his brother and making a chariot of fire for his lover. " Andy Lau's consistent rotten boy or heroic style belongs to Mong Kok, a kind of grassroots, immortal vitality and heroism in the 1980s. Because of this, he is irreplaceable. I wonder how many times the tide outside has changed. The wind of fashion has blown away and come back. Japan and South Korea, only Mong Kok, will never change. That is the most authentic Hong Kong aesthetics, or rather Mong Kok aesthetics. He told us what style young heroes should have. "Li Zhaoxing said. The production period of Andy Lau's middle-aged film industry is 1988 to 1992, (1988 10, 1989 16,190/kloc-. 1989, with the reduction of production in Chow Yun Fat, Andy Lau accepted the demand of the film market and became the most sought-after minority of popular hero films at that time. Andy Lau, who is in a prolific period, is often regarded as "having no depth and dealing with personality and emotion with typed roles". Zhang Shuhao, a film critic, said, "He likes to play with shapes, lighters, guns and tricks in the camera, and he doesn't even change his hairstyle. It can be said that he has been playing two roles at the same time, and the way is very narrow. The prolific period also created another major feature of Andy Lau's performance, that is, imitation. "With the decline of the Hong Kong film industry, Andy Lau, who didn't want to die with the Hong Kong film industry, had to transform in the film industry. He is going to explore the possibility of multiple Andy Lau. " Andy Lau was so engrossed in her eagerness to get rid of herself. "The Supreme Two Commanders Rule the World Forever" is a mocked struggle in Lan Kwai Fong, and it is raining slightly at night. In Dark War, pretending to be forced is the life interest of limited life. "Slim men and women" and "big guys" constitute the "two-part" of the body. Is an idol saying goodbye to himself at some stage? This is his transformation, giving up himself and finding his own position again. "Zhang Shuhao analysis. The Big Guy (2003) is regarded as an important symbol of Andy Lau's transformation. "The role of" big guy "made Andy Lau put everything down, from the inherent image to the great change of personality and acting skills. From then on, we saw another Andy Lau, the ancient policeman in House of Flying Daggers and the wolf in world without thieves. Let go of Andy Lau itself, let go, it will be a big day. "Li Zhaoxing said. Regarding the transformation of Andy Lau, Du Qifeng once commented: "I think his transformation began with the filming of Dark War. We discussed whether to perform in a different way, and he promised to try. In fact, he paid a lot to break through this barrier. I think after that, he has lost his former "very Andy Lau" acting skills. Start to pay attention to personality (character). Your previous opinion of him was Andy Lau? In recent years, his films have a wide range. "Andy Lau, constantly seeking transformation and breakthrough, has won more praise. He opened a bloody path for his career as an actor. He put down his body and gradually entered middle age, showing more plasticity. " We don't see a kid like Andy Lau, but a mature role. "After he entered maturity, a repeatedly mentioned role was Liu Jianming in Infernal Affairs 3, and he ended up in a wheelchair." How much mourning, Liu Jianming will always live in the memory, remembering the biased qualities such as childishness, impetuousness, inferiority, complacency and showmanship and me-my Andy Lau moment. "Zhang Shuhao said with emotion. What he left behind is an idol gesture that will always be charming.

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