The characters' psychological speculations, inner contradictions, ups and downs, and unexpected endings.
I think a lot of people are like me. They didn’t understand it the first time, because there are many key points in the story that affect the ending. The director buried it very deeply, specifically a shot, a look, and an obscure line of dialogue. . Only when we are watching the second and third times, and carefully pondering their dialogue, their inner world, and their eyes, will we slowly understand - it is so! I think this will make the audience think actively, instead of letting the audience sit and wait for the result, and the audience's response will be much better.
The advancement of the whole film is accompanied by the psychological changes of the two protagonists (undercover), which is also a major highlight of the film. An undercover gangster for many years wants to return to the police station as soon as possible to be an ordinary person's "police" and an undercover gangster. For many years, the police station wanted to break away from the gang and become a good "bandit". Both of them were working hard for their own way out, but they couldn't get rid of the tricks of fate. Among them, the dialogue between Tony Leung and Andy Lau on the rooftop is also a classic:
"Give me a chance"
"How can I give you a chance?"
"I didn't have a choice before, but now I want to be a good person"
"Okay, tell the judge and let him let him Don't let you be a good person"
"That means I'm going to die?"
"Sorry, I'm a policeman"
Remember that there is a Buddhist saying at the beginning and end of this film?
The Nineteenth Volume of the Nirvana Sutra: The highest of the eight hells, it is called the Uninterrupted Hell, which means suffering great suffering without interruption.
The Buddha said: Those who are boundless in the body will never die, and longevity is a great kalpa in the boundless hell.
When I saw it for the third time, I realized that it was alluding to Andy Lau: Although he won (the one who suffers from the infernal life will never die), he cannot avoid the end of the cup (longevity is the catastrophe in the infernal hell).
Attached are the classic parts of many movie reviews:
In Buddhist scriptures, it is said that Wujian is the most painful of the eight hells. The film uses "Infernal Affairs" as the title, which obviously has a profound meaning. Both identities should not belong to their own people. They almost live in an environment like an endless hell, and they are afraid that others will reveal their identities in their dreams. In this world, what is the truth of life, the truth of being a person, and the dazedness of the role is the in-depth discussion of this issue by the director. There is no reincarnation in the endless hell, only eternal suffering, but the two protagonists in the film are seeking reincarnation.
Gangster movies have always been one of the most important genres of Hong Kong films, but in recent years, they have no longer felt like they used to be. Many such films are difficult to make new ideas, and the audience has lost because of this. However, the influence of Hong Kong gangster films in Hong Kong and even the entire Chinese world has not been erased. On the contrary, good films of this type will still be the audience's favorite. In this film, Liu Weiqiang once again picks up the more common themes of marginalized people in gangster movies, but it is not interpreted from the superficial meaning of the opposition between the underworld and the police. In addition to gunfights and actions, there is a lot of focus on the distortion of human nature in special environments. In addition to a lot of entertainment elements, there are some more thought-provoking things. Compared with the common brotherhood in gangster movies, the underlying spiritual lines given in the story of this film are expected to bring Hong Kong's gangster movies to a new level. This has also become one of the fatal attractions of the film to the audience.
The Philosophy of Infernal Affairs,
the epic of Hong Kong cinema. Enter the new millennium with the best Hong Kong movies. The rivalry between Andy Lau and Tony Leung is a classic and unforgettable. Complicated interpersonal relationships and tense plots make Hong Kong movies truly go into the world. In the movie, Liu Jianming faced the helplessness and hesitation of being a good person. In the end, he moved towards a split personality. In the endless black and white, it is difficult to make the right choice. This is the most painful moment in life. Sometimes what moves us is not the every move of the big man, but the inner struggle of the little man. I want to be a really good person, but the past cannot be erased. Really people are in the arena, can't help themselves. I like the dialogue in the film, it's so straightforward, and the camera moves from in to out, making people follow the rhythm of the film in the film. The music in the film is also intoxicating. When the music follows the film, I feel like I am the protagonist in the film. Infernal Affairs 3, all wonderful. The emotional entanglement in it also adds a lot to the film. One of my favorite movies. Hope Hong Kong Films will bring us more good films.
This is a landmark Hong Kong film. In Hong Kong, it defeated "Heroes" and became the annual box office champion; in the mainland, it was the first Hong Kong-made gangster film introduced since the relaxation of the film censorship system; abroad, it is expected to be nominated for next year's Oscars. The film begins with a twisted and bizarre psychological confrontation. In addition to a large number of entertainment elements, there are also some thought-provoking things related to philosophy.
Who is banging on my window
, who is tugging at the strings
, that forgotten time is
gradually rising out of my heart
, and the music in the film makes me sing. They all want to forget their past, but unfortunately, life cannot be chosen at will. Bitterness, helplessness, or sadness, like happiness and happiness, tend to settle in the depths of memory unknowingly. Occasionally touched, the mood surges again.
The dialogue on the rooftop in the film is unforgettable to me.
"Give me a chance."
"How can I give you a chance."
"I didn't have a choice before, and now I want to be a good person."
"Okay, go and tell the judge whether he will let you be a good person."
"Then Just let me die."
"I'm sorry, I'm a police officer."
"Who knows?"
Why did Chen Yongren choose the location of the joint on the rooftop? It wasn't until I saw this that I suddenly woke up. The sky is vast and vast, ethereal and clear, only under this azure blue sky, the suppressed soul can show his uprightness. Compared with Liu Jianming's need to complete the transaction under the cover of darkness in the cinema, Chen Yongren's actions cannot help but make us admire.
On the rooftop, Chen Yongren, who was at the end of the road, pointed a gun at Liu Jianming, who was also at the end of the road. "Bang!" The gunshot rang out suddenly, and the criminal bullet flew into Chen Yongren's brow. He twitched and collapsed in despair. The elevator doors opened and closed, hitting the fallen hero. The dead are gone, and the living are in pain...
At the end of the trilogy, Cai Qin's singing sounded again. More than a year ago, two men who were about to turn their guns on each other sat side by side and shared the "Forgotten Time" with their hearts. In the singing, there are endless right and wrong, repeating and dying. Only at this time can you perceive the power of time. In this detached gesture, everything about everyone, the boundaries between life and death, joys and sorrows are very different, yin and yang are intertwined, and good and evil are intertwined.
1991, beginning;
1997, liberation;
2002, impermanence;
2003, fate.
This tragic era belongs to the age of infinity...
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