Love is endless.
Tung shing Yee was born as a white knight in Shao's martial arts films and became a director in 1980s. His works matured in Endless Love and Erotic Men and Women in 1990s, but it can be said that they developed after Night in Mong Kok. Although the love drama in Endless Love seems to be a copy of the love drama between Liu Qingyun and Vivian Chow in the TV series Great Times, Great Times mainly shows the prosperity and development of Hong Kong's economy from 1960s to 1990s through family feuds, and love is only an adjustment in life, while Endless Love shows life through love, especially the positive attitude towards life played by the heroine Anita Yuen. In addition, Endless Love also reflects the abnormal state of music at that time through the friends and relatives around the hero and heroine (in Porn Men and Women, the film circle became the object of Tung shing Yee's ridicule, including himself), and also reminds me of Cantonese opera in the 1950s and 1960s (Feng Baobao, who plays his mother, was born in Cantonese opera). The music is exquisite and beautiful, and the story is sincere and touching, revealing a kind of grassroots friendship, whether it is the love of the hero and heroine, or the affection between mother and daughter (the mother played by Feng Baobao shows that kind of maternal love very well), or even the affection between friends. Even Qin Pei and Wu Jiali, who didn't play many supporting roles, gave wonderful performances. Endless Love is a masterpiece that truly shows the daily life of ordinary people in Hong Kong.
Autumn fairy tales
Compared with the sincere reflection of life reality in Endless Love, Zhang Wanting's Autumn Fairy Tale is a fairy tale as the title says. The heroine played by Cherie Chung went to the United States to study abroad, and wanted to follow her boyfriend, only to find that she already had a new love, so she gradually developed hazy feelings with the hero bow ruler played by Chow Yun Fat, who was bold and informal, but in reality they seemed to be far apart ... At the end of the film, Zhong Zhong, who was walking on the beach, met Zhou, who had already opened a pub on the beach ... Autumn Fairy Tale is the most famous one in Zhang Wanting's "Immigration Trilogy". After several years' absence, they reunited in their dream Gold Coast, and their fate returned to the starting point. Ten years later, Zhang Wanting directed city of glass, which showed us the helplessness of his lover after "Today is not yesterday, but everyone is different". He also bid farewell to the fairy tales in the 1980s and walked towards reality ... However, autumn fairy tales still left a profound impression and hope for people. ...
Rouge
With the end of the colony and the loss of cultural identity, Hong Kong people were shocked by the illusion of history. Therefore, Hong Kong intellectuals exiled by history have reconstructed the history of Hong Kong in their own way, trying to give Hong Kong culture a position. As Luo Feng, a Hong Kong scholar, said, "Because of the future of the 1997 issue, after the mid-1980s, there was a general atmosphere of anxiety, uneasiness, uncertainty and helplessness in Hong Kong society. Under the popular psychology of being dissatisfied with the present situation and full of doubts and fears about the future,' nostalgia' has become one of the ways to relieve depression and provide comfort. This collective nostalgia intention is manifested in two aspects: First, by beautifying and affirming the memory and life content of the past, or escaping, or reflecting, or attacking the shortcomings in the real situation, the past life fragments, no matter how hard, have become golden times. Secondly, through the pursuit and recognition of its own history and identity, I hope it can sort out the chaotic reality and understand it. The 1997 issue has brought a strong sense of self to Hong Kong. " (Participating in Cai's Imagining Hong Kong: A Collection of Hong Kong Novels (1945-2000) and his novel Rouge Kou is also a written memory of Hong Kong culture itself. "This novel centers on customs and reproduces the memories of the 1930s in detail ... This novel is not a repetition of the" traditional love story ",but a creation of Hong Kong consciousness. The love tragedy 50 years ago was re-remembered as an extension of Hong Kong consciousness, which was linked with the 1980s. The novel Rouge Kou reminds readers in the 1980s of Hong Kong in the 1930s, thus creating a 50-year history of consciousness in Hong Kong "(participating in Cai's The Method of Imagining Hong Kong: Hong Kong Novels (1945-2000)). Guan's film adaptation basically keeps the original appearance of the novel, but slightly modifies the details, such as the meaning of the number "38 1 1" agreed by two people. The ending makes Ruhua finally meet the person she has been waiting for for for 50 years, which aggravates the drama of the modern part, thus forming a contrast between two people who treat love differently. "Look at a pair of flying swallows in the sunset, leaning against the cold window and thinking quietly." "You can hear the autumn leaves falling in your ears, and you can only see the faded and cold smoke on Pingqiao ..." Guan borrowed Cantonese opera from the beginning of the film to create a poetic atmosphere, and as far as the whole work is concerned, it can be said that it is a successful adaptation of the original work at the same time. (In 2005, Guan's adaptation of Wang Anyi's novel "Song of Eternal Sorrow" almost covered all the original novels. ) "favorite"
Zhang Aijia has made many romantic movies, but his personal favorite is Favorite, which was filmed in the mid-1980s. Like a sketch of life, there are slight waves, and finally it is calm, but it leaves a lot of room for imagination. And,, are good friends, but they fell in love with Zhong's fiance at first sight, even had a one-night stand, and left a daughter ... Many years later, when their daughters grew up separately, when their loved ones died, they vaguely told Zhong about this past and that betrayal ... Zhang's narrative was very calm, and he let go of a period of love many years ago. Today, ten years later, director Zhang's Heart Beat is still talking about the former love, which seems to be the first love and friendship we all felt. It is just some uncontrollable narratives, which reduces the imagination space left by the film for the audience. As for the new work "Women 20, 30, 40", I feel even worse. Three stories tell the life of three different periods, but I still can't help feeling the same as my "heart" ... Now it's hard to see works that make men so rough and women so delicate, even literary films like "Lonely Men and Few Women" and "Slimming Men and Women". Chow Yun Fat's long, messy hair surprised me at the beginning of the movie. However, in the end, the short hair was full of sunshine, while he continued to bleed on the speeding motorcycle. At this time, Tayu Lo's sad melody song "You Appear" gradually sounded ... Du Qifeng made this literary film very commercial, very sensational and very touching, no matter the hero or heroine. In the next few years, Du Qifeng made many police films. Although the friendship between men in the film can't surpass John Woo's Hero and wyndell dichinson series, the delicate emotional scenes of women in Du Qifeng's works are ignored by many gangster films, which is also one of Du Qifeng's main achievements. Wild days
Wong Kar-wai's directorial debut is a gangster film "Tears Running", and it is also a work that combines love and gangsters in the gap between John Woo's series of Heroes and wyndell dichinson and Lin Lingdong's series of Fengyun. On the basis of gangster films, a lot of love condiments were added, and the sense of alienation and eschatology expressed in later films also took shape.
The True Story of Teddy Boy is a famous work of Wong Kar-wai, and it is also one of the most representative works-all the films after Wong Kar-wai are based on the theme expressed in The True Story of Teddy Boy, including 2046 in the previous two years.
Lines. There are many classic lines in The True Story of Teddy Boy, the most typical of which is what Teddy Boy played by Leslie Cheung said: "There is a kind of bird in the world that was born without feet. They have been flying all their lives and will not land. The only time they landed in their lives was when they died ","April 1960, 16 One minute before 3 pm, we were together, I will remember this minute, and we also became friends for this minute. This is a fact that you can't deny, because the past has passed and you can't deny it. "
Time. At the beginning of the film, I heard the empty footsteps and the ticking of the clock, which made the characters feel a sense of emptiness and loneliness. Since then, clocks have appeared from time to time in the lens, and even many of them are close-ups. "Small gangsters keep the lost time, focus on every moment of their existence, and feel every minute of themselves. This is the meaning of life," as the commentator said.
Mirror. In this film, Pan Disheng appeared in the mirror twice. The first time he was lying in bed with Leslie Cheung, the second time he was narcissistic in front of the mirror ... The beauty of that face was like a mirror, but it drifted away with the wind. As Pan told Lulu, the dancer in the film, I have done it before ... In fact, not only Pan is narcissistic in the mirror, but also the roles played by Leslie Cheung and Tony Leung Chiu Wai-running water takes away time. )
Tony Leung Chiu Wai. Tony Leung Chiu Wai appeared at the end of the movie for only about three minutes, and he felt sorry for himself in that small space ... Liang's appearance at that time was abrupt, but it was a prelude to Wong Kar-wai's later movies, because Zhou Muyun, played by Tony Leung Chiu Wai, continued until later In the Mood for Love and 2046.
There are many things that can be said and remembered in The True Story of Teddy Boy, which is really a classic in Wong Kar-wai movies and also a classic in Hong Kong literary films.
Red dust
"At first, you/and young and ignorant me/inadvertently loved in the world of mortals, just because of the hasty silence of life/thinking that it was the fault of the world/or the cause and effect of the spread of previous lives/this life, you did not hesitate to get the exchange of Yin and Yang at this moment ..." I heard this song many years ago and liked it very much. Chan Sarah's voice is much more helpless, while Tayu Lo's is much more vicissitudes, which matches the wording of the lyrics created by San Mao (to borrow one). Later, I listened to the version sung at the concert in Hong Kong, and I felt that it was far less good than Chen's singing (but Yuan's "If there is love in heaven" feels better than the mandarin "Dream Chaser").
The first time I saw the film "Rolling Red Dust", I was still young, and I still couldn't understand many things. I only remembered the scene where Brigitte Lin danced with Qin and Han Dynasties. The second time I read it, I was already in college. I like reading Zhang Ailing's novels. I also know something about the past between Zhang Ailing and Hu Lancheng, and I also know that San Mao wrote "Rolling the World of mortals" about the love between Zhang and Hu. The fruitless love in Bonfire can prove Zhang's short story Love. Half-Life, one of Zhang Ailing's representative works in the 1940s, was rewritten as Eighteen Springs when Zhang Ailing came to the United States in the 1950s, which also reflected her love with Hu.
Yim Ho, the representative director of the new wave of Hong Kong films, put Rolling Red Dust on the screen. Moreover, Yan did not define the literati played in Qin and Han Dynasties as the so-called "traitors", but objectively and humanely described the situation and mentality of some marginal people in China's modern history. In fact, this kind of marginal people not only existed in Hu Lancheng in 1930s and 1940s, but also existed in Zhou Zuoren, Hu Shi and us. For example, Brigitte Lin and Maggie Cheung played this pair of good friends. Lin can laugh through tears under extremely miserable conditions and tell the joke that "people's hearts have been eaten by dogs". Although he died unsatisfied, he floated up with a smile and went to the national disaster with his lover.
"Easy to come and easy to go, difficult to go/decades of human travel/separation and reunion/eternal hatred of love and hate", isn't it?
Shibaquan
In the early 1980s, Xu Anhua adapted a novel by Zhang Ailing, named Love in the City. The adaptation of the novel is very loyal to the original work, which brings the literary charm to the screen and reproduces the process of mutual calculation of love between Bai Liusu and Fan Liuyuan. It was not until the war that they really became frank and came together to become a friend in need ... Zhang Ailing's original novel was wonderful. When describing psychology, the biggest feature of film adaptation is here, and the disadvantage is the plot.
In the early 1990s, Guan put Zhang Ailing's "Red Rose and White Rose" on the screen, but similar to "Love in a Fallen City", the literary charm is too strong, and it is faithful to the original novel, but it lacks film meaning (in 2005, Guan adapted Wang Anyi's novel "Song of Eternal Sorrow" to the other extreme, which is simply a fresh start of borrowing the relationship between the characters in the novel).
Zhang's novel "Half-Life" has been adapted again, which keeps the loyalty to the original novel (the adaptation at the end is more reasonable) and reproduces the "true colors" of Zhang Ailing's novel, but what is more commendable is that the film adaptation brings the novel to life through various details and scenes, especially the glove that runs through the film.
In the story, Gu said, "On a snowy day, I seemed to see a man who looked like Shi Jun, but when I turned around, he disappeared again. If we get married and have children, and it goes well, it is not a story between us. " The film also tells the story of their decades-long love, as if they were separated from each other, just like Lin sang in "As if an old friend came": "All the dust is boundless/you and I are separated/heartbroken/a little storm/as if an old friend came/when to get drunk again, saying that tonight is beautiful/there is no fate to remember, but life will continue."
Sweet honey
It is still a love story of fate, but compared with the strong literary flavor and lingering sense of eschatology in Half Life, it has more warmth of snuggling up to each other in a strange city and more happiness of suddenly meeting again after going around.
The details in the film are good and impressive. First, I rode a bicycle at dawn. Once I rode a bell and Maggie Cheung sat behind me, shaking his long legs and humming the song "Sweet Honey" gently. It was very fresh and moving. There is also the song "Sweet Honey", which runs through the whole movie and connects the narrative of the movie with the fate of two people. ...
There is also the ending of the film. Although it is too flattering and artificial compared with the ending of the Japanese film "Two Trees in Saro", it is also very warm and moving.
Peony Pavilion
Yang Fan's works in 200 1 year correspond to the two plays of the peony pavilion by Tang Xianzu about 400 years ago, which show the relationship among "humanity", "soul" and "helplessness" and the feelings and desires in the depths of humanity. ...
More importantly, the beautiful scenery of Suzhou gardens and the luxurious costumes in Kunqu Opera are gorgeous and wonderful in the film.
"The original colorful, like this are paid to the broken well. Which day is beautiful, who is happy! " The prosperity of the past and the desolation of tomorrow are displayed in the image of Yang Fan. ...
The literary films of Hong Kong films reached their peak in the 1990s, but they inevitably declined. Just like the Hong Kong film itself, there are some regrets, and I hope that good works will reproduce the classics and glory of the literary films of that year.