the director said

Keanu 2022-04-21 09:01:51

Since the late 1980s, Hong Kong movies have had Stephen Chow. Since then, Xu Guanwen's comedy, Xinyicheng's comedy, and Sammo Hung's action comedy have all given way to Zhou's "nonsensical" performance. In the late 1990s, Zhou Xingchi was hotly discussed in the emerging media - the Internet, especially his starring "Journey to the West", which was carefully read, analyzed and imitated by college students in mainland universities, and gradually rose to a "post-modern" film. ”, “deconstruction” and other academic perspectives. So far, Zhou Xingchi is no longer just a sought after star in Yunyun Hong Kong films, but has become a cultural symbol. This rise in status has also made viewers have different expectations for his new works. Starting from "Domestic Zero Paint" in 1994, Zhou Xingchi has been making transformation attempts, trying to precipitate his thinking in the film, and get more and more away from the early madness Funny and entered middle-aged state, and gradually reduced the number of plays, and turned to behind-the-scenes work such as director, screenwriter, and producer. After entering the 21st century, the three works of "Shaolin Soccer" (2001), "Kung Fu" (2004) and "Changjiang No. 7" (2008) also proved that his style has further changed and faded out as much as possible. In response to this change, many old audiences are more willing to indulge in the past, while young audiences think that the legendary Stephen Chow is not funny, but for Stephen Chow himself, he just found a suitable way to express himself in the movies in his youth.

If "Shaolin Soccer" is still a transitional work of transformation, then "Kung Fu" is a masterpiece of its style in a sense. Nonetheless, this film still follows some of the successful aesthetic experience of Stephen Chow's films: familiar Stephen Chow-style funny ways are everywhere in the film; strong focus on the grassroots; Stephen Chow's childhood memories; Bruce Lee complex; And the love of martial arts movies and comics are also the embodiment of continuity.

Zhou Xingchi, who started as a small person, continues to tell the sorrow and victory of the small person in "Kung Fu". The star in the film is ruthlessly broken by reality because of his childhood dreams. He chooses to be a bad person because being a bad person can prevent him from being bullied. He stepped on the child's ball and robbed Fang of money to warn himself: You must be a bad person. But this kind-hearted little gangster, who has no food and clothing, the only bad thing he did was grab an ice cream, and the laughter when he jumped on the bus after doing the bad thing was just bluffing, he was only deceiving his kind heart with his teeth and claws! When he recognized Fang who had rescued him when he was young, he felt depressed and sad, and was ashamed before his childhood dream. So when he saw the second uncle and his wife coming out for justice, he finally faced his heart and turned to the side of justice. In the film, Xing was beaten to death by the Evil God of Fire Cloud, but he still touched a small wooden stick and knocked the Evil God of Fire Cloud with another stick, showing the unyielding and resistance of the little man in the face of a powerful enemy, just like his previous "A Comic to the End of the World" (1990), "Domestic Zero Paint" (1994), "The King of Comedy" (1999), "Shaolin Soccer" and other films, always relying on fantasies, so that the little people can finally get through their hardships.

Zhou Xingchi's life experience determines his preference and good at little people. He once clearly stated that the pig cage city in "Kung Fu" restores his childhood residence. In the 1950s, the population of Hong Kong soared, and it was not easy to make a living. The crowded and cheap city walls became the best shelter for the poor. The city life included trivial quarrels between neighbors, but also the warmth of mutual support. There are two panoramic views of the city's life in the film, expressing Zhou Xingchi's nostalgia for this poor and vibrant life. One is the first appearance of the walled city. The camera crosses the four characters of "Pigcage Walled City", and there is a busy scene in front of the dilapidated building - the crowd waiting in line to wash up, the aunt who cut the line, Gu Liqiang, the tailor, the oil The occupation of the three ghost bombers, the second uncle, who was a little confused in the morning, eats free food, has nothing to do with people and jokes, hangs clothes, opens a store, plays cotton, plays and chases children, loves beautiful Shaoyazhen, accounts for The little barber who brushes his teeth, washes his hair and takes a bath with the faucet, the fat woman scolds the streets in all directions, and all kinds of neighbors. In the patio, there are still pigs eating watermelon, chickens and geese, yowling cows, and startled chickens, until the fat woman Si, because of her second uncle's lecherous activities, beat her husband and even threw him downstairs, throwing The next pot of flowers hits the forehead before giving up. The little barber stabbed the second uncle with a stick, and seeing that the second uncle was safe, everyone dispersed as usual. This is just a glimpse of the city's normal scenery, a little bitter and a little joyful. This group play with many characters is handled very smoothly, and only a few strokes can outline the vivid folk customs. The Dusk of the Walled City also has expressive sketches when Gu Liqiang, the tailor, and the fried ghost are about to leave after exposing their identities as masters. They are completed with a long shot, and they are filled with the soft and beautiful singing of the old Shanghai atmosphere (Gong Qiuxia's "The Dreamer"). "), the second uncle and the fat woman four danced to the music, but they fought because of the lipstick marks on the second uncle's face. The camera pans to the right to another house, and in the hallway appears to be a father teaching his daughter to cook. The camera then moves down, and the adults of the downstairs family are chasing the children who have escaped from the house with feather dusters. The camera pans to the left again, and the little barber is defecating in the corridor, and the two of them are playing a game on one side. The camera pans to the left, one person shoots mosquitoes at home, and there is a beauty month sign on the wall. The object on the wall is shaken off by too much force. The shot ends here. Carrying the luggage, he sighed and he could only say goodbye to this peaceful life and move forward... As the director, Stephen Chow, in these two paragraphs, is not only the skillful scene management skills, but also shows his level-headedness. , Love the feelings of little people.

This level of perspective and love makes Zhou Xingchi's films often appear surprising and unforgettable supporting roles and tricks. "The Legend of Condor Heroes" was originally a pair of lovers in the martial arts world who despised etiquette and possessed peerless martial arts, while the second uncle of "Yang Guo" in the film was greedy and lustful, and the fat woman four was mean and mean. The Hedong Lion. A few other martial arts masters, in addition to Gu Liqiang and normal, the tailors are feminine, the fried ghosts and horses also love to speak foreign languages, and the Huoyun evil spirits are always dirty. The "beautiful" Shaoyazhen and the "handsome" little barber in the dragon set have a silly sense of justice, just like the childhood stars in the film. These characters, just like Lu Xiaofeng, Hua Manlou, Ye Gucheng, and Ximen Chuixue, who all look crooked and crooked in "The Great Inner Detective" (1996), declared that "Masters don't have to be much handsome, they are just It's just wishful thinking of you Xingdou citizens", "Can't the heroes be bald?" In "Domestic Zero Paint", the people who perform important tasks are actually the market porkers, middle-aged uncles who keep making useless inventions, and inexperienced so-called women. Agents, all of the above are full of ridicule and mockery of traditional and conventional thinking, and even deviant. The love of young audiences for Stephen Chow's works has a lot to do with this quality.

Of course, as a work fully controlled by Stephen Chow himself, "Kung Fu" has seen many new trends. The most direct feeling that gives people is the sculpting of the shots and scene scheduling in the whole film. The atmosphere of the whole film is constantly alternating between lightness and heaviness, forming a sense of relaxation and rhythm, which is different from that of many Stephen Chow films of that period. The liveliness of the film is even different, and there are many good sentences in the film but also many paragraphs that are out of control.

"Kung Fu" is obviously no longer satisfied with making jokes every second, and the intensity of sadness and joy seems to be very restrained. The tailor had just won the battle in high spirits, but was scolded by the fat woman to the point that she could not argue with a woman's voice, "It's not a sin to know kung fu"! The tragic death of the deep-fried ghost was diluted by the oddly pronounced last words in English before his death. Seeing the star who was beaten beyond recognition, the fat woman four cried out in grief, "I was beaten so much that my grandma didn't even recognize it." The lollipop drawn with blood in the last breath of Xing's life is also understood by the second uncle as a foreign symbol... The film always combines tragedy, comedy and even absurd elements, and controls emotions well to any extreme, so that Avoid the sensationalism that popular videos are criticized for.

The film also deliberately made enough articles on parody. Stephen Chow's past films have often parodied contemporary pop culture, but they don't make up much of it. The film is a parody with a lot of energy, in order to fit the nostalgic style. As a major feature of contemporary comedy films, parody is the product of the mature stage of genre films. When classic characters, lines, and shapes are presented exaggeratedly and dislocated, "laughing fruit" is produced. "Kung Fu" involves Jin Yong's novels in Hong Kong. Most of the "secrets of martial arts" sold by old beggars are from Jin Yong's novels, and "The Condor Heroes" is also a famous character written by Jin Yong. The film also borrowed the godlike Tathagata Palm Kung Fu from the classic 1960s film Tathagata's Palm (1964), as well as the characters Huoyun Evil God and Tian Can. The kung fu superstar Bruce Lee in the 1970s is also an important symbol in this film. From the axe gang leader who looks exactly like Bruce Lee, to the Bruce Lee-style style, fists, and figure displayed by the star at the end, the fat woman four in the car warned the axe gang leader. It is a replica of Bruce Lee's signature moves. Others such as the old Hong Kong movie "Six Fingers" (1965), "Ma Yongzhen" (1972), "Seventy-two Tenants" (1973), "Golang Bagua Stick" (1984), Hollywood movie "The Shining" (1980) , "Forrest Gump" (1994), "The Matrix" (1999), "The Mummy" (1999), "Spider-Man" (2002), plus American and Japanese games and anime, all gave the film parody inspiration , and, of course, Stephen Chow's imitation of some of his past performances or classic lines and passages. Parody was one of the widely used comedy methods in Hong Kong movies in the 1980s and 1990s, especially the parody of local pop culture in various periods in Hong Kong. It conformed to the nostalgic trend of the 1990s and was warmly welcomed by the market. 92 Black Rose to Black Rose" (1992), "New Difficult Brother" (1994), etc., Tathagata's Palm has also reappeared on the screen many times. However, parody needs to be familiar with the original work, so as to form a kind of net-like extension of viewing pleasure. One of the reasons why Stephen Chow's films make moviegoers nostalgic is because of this kind of self-talk. In "Kung Fu", self-talk is also expressed as self-entertainment between actors and characters. The mainland director Feng Xiaogang, who is a guest star of the Crocodile Gang, expressed his emotion, "I can't do any business and make movies, and there is no one in the cinema on Sunday." In reality, the high box office of its film has formed a laughing point. Similar techniques have been used in Hong Kong films. For example, in "Eight-colored Lin Yazhen" (1982), director John Woo played a candidate named "John Woo", whose original occupation was "director", and declared: "The director is not The man, the director, is God! Before he finished speaking, smoke appeared behind the aperture. The male protagonist whispered: "I've seen his play, it sucks..." Chow Yun's riddle in "Across the World" (1991) "Porridge bubbles." "Steamed buns", the answer is his own name. In "East and West" (1993), the little junior sister played by Wang Zuxian couldn't sleep and looked around in the corridor, and was scolded by Zhou Botong as "pretending to be Wang Zuxian", which is actually an entertainment familiar to Hong Kong commercial films. A trick of the masses.

However, "Kung Fu" is facing the global market. In this film, Stephen Chow also considered the acceptance of audiences who are not so familiar with Hong Kong movies, so there is Bruce Lee who belongs to the world, and Jin Yong, who has a great influence on the global Chinese, surpasses Hong Kong. In the local old Shanghai beach, the theme of hoeing the strong and helping the weak is universal. The extensive use of computer stunts in this film conforms to the trend of the world film industry, changing Stephen Chow's comedy to focus on verbal and physical expression. Beginning with "The Storm" in 1998, Hong Kong films have been trying to imitate Hollywood's high-tech to achieve market breakthroughs, followed by "Chinese Hero" (1999), "Shushan Biography" (2001), "Old Master" (2001), Including Stephen Chow's "Shaolin Soccer" and other films. At present, it seems that the only two films that can stand the test of time are "The Legend of Shushan" and "Kung Fu". With the help of computer stunts, "Kung Fu" perfectly demonstrates the ultimate martial arts that can only be understood and inexpressible in the minds of Chinese people. Knives, swords, fists, and legs fly out from the sound of the broken brothers, which integrates traditional Chinese martial arts novels. In the idea of ​​"invisible sword energy", the skeleton warrior sent out in the last hit was smashed into pieces by the opponent. In the end, Xing threw the axe to help the crowd fly up and down like a child's play. The second uncle used Tai Chi to sway the strong enemy effortlessly. , Tathagata's palm destroyed half of the building in an instant, all relying on computer stunts and "magical skills", if Hu Jinquan and Tsui Hark reproduced on the screen "Flying flowers and picking leaves, all can hurt people by relying on camera angles and editing." "Kung Fu" is to use the help of computer stunts to give full play to the imagination and present Chinese Kung Fu in a new way.

The soundtrack of this film is also very distinctive, which was rarely noticed in previous Stephen Chow films. Although there are not many originals, it borrows a lot of music familiar to the audience, such as "House of Flying Daggers", "East Sea Fisherman's Song", "Sichuan General's Order", "Crushing General's Order", "Knife Club Suite", "Heroes Overcome the Dadu River", Many of them belong to red music, and there are also foreign famous songs "Song of the Wanderer" and "Saber Dance", which can be closely matched with the content and form an excellent rhythm of the film. Among them, "Crushing General's Order", "Sichuan General's Order" and "Xiaodaohui Suite" were also borrowed from the Cantonese film "Tathagata's Palm" (1964), which can also be regarded as a tribute to the predecessors in the music part. In the film, only "Zheng Feng" and "As Long as I Live For You" are originals, "Zheng Feng" is the music when the world slaughtered the three masters of the city, and with the computer stunts of this film, it has achieved a perfect combination of sound and picture. , convincingly shows how music can be a killer. Xing recalled that the soundtrack of his childhood was "As Long as I Live For You", which went from tactfully low to passionate, showing the huge ups and downs in the character's heart.

For the entire Hong Kong film, "Kung Fu" and its predecessor "Shaolin Soccer" not only fulfilled the mission of saving the city in the sluggish world of Hong Kong films, but also changed the neglect of Stephen Chow by the critics for many years. Many awards are given to the two films, including the Academy Awards and the Golden Horse Awards. Just as "Kung Fu" uses a cocoon to turn into a butterfly to describe the hero star's transformation from a street gangster to a generation of martial arts masters, Stephen Chow proved that he does not stop at "just being funny". "Kung Fu" is full of concern and even compassion for human nature: the seemingly stupid fight in the youth, the humble but peaceful existence of the grass-roots class, the daze and unwillingness after the ideal is shattered, the pure and hazy emotions between men and women, the resolution of violence by kindness and forgiveness . The true power of the Tathagata's palm is not violent conquest, but tolerance, and subjugation without fighting. This is the true meaning of kung fu, and it is the supreme state of Chinese martial arts to convince people with virtue. These are what "Kung Fu" really wants to give to the audience. Therefore, "Kung Fu" is Zhou Xingchi's author's film. He is no longer the star who only smiles for the audience. He is an actor, a director, and a filmmaker with ideas.

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Extended Reading
  • Laverne 2022-03-27 09:01:05

    Xing Ye has put so much effort into this film that the next few films are a bit like that. Exquisite special effects, the same funny lines, but we can also see that this star who accompanies us to laugh is really old.

  • Gust 2022-03-27 09:01:05

    Conservatively I've watched it 17 times

Kung Fu Hustle quotes

  • Barber: Why don't you train us to be top fighters... and we'll avenge them!

    Landlady: Becoming a top fighter takes time, unless you're a natural-born kung-fu genius, and they're 1 in a million.

    Barber: [Does martial arts routine] It's obvious I'm the one.

    Landlady: [immediately punches him in the face] Don't think so.

  • Sing: NO SOCCER!