Yongguan is Wang Jiawei or Qiu Litao. Since I chose to shoot the works of Ye Wencai , it is inevitable to be compared with the popular "Ip Man" series by Donnie Yen. But if you compare a movie like "Ip Man's Prequel" with "Ip Man" and "Legend of the Grand Master", it seems very meaningless. After all, different directors have different creative concepts, and there is not much connection in the plot. "The First Story of Ip Man" is just a simple way of earning tickets through the craze of Ip Man. From the perspective of the story mode and action style, it itself is more like an orthodox kung fu film with a Hong Kong flavor in the 1980s and 1990s.
The story of the
film "Ip Man's First Story" is not much different from traditional Hong Kong Kung Fu movies, it is very routine. It's nothing more than an old joke like learning a great art and becoming famous after the first battle. But you can also see Qiu Litao's restless ambitions. The movie's story combines the turbulent historical background of the powers oppressing China and the popular spy war undercover elements. Even the emotional scenes between Ye Wen and Zhang Yongcheng have the taste of pure love for movies, but Du Yuhang is really like Huang Yi's evaluation at the Shanghai Film Festival, like a piece of wood, causing the beautiful feelings of love at first sight to become dull and pale. Say love. The most surprising thing is that the Japanese way of sending teenagers to China to lurch is really rare. I always thought that those cargo boxes should be filled with drugs, gunfire and the like, but I didn’t expect that they were actually playing "The Great Change of Living People". "The screenwriter's idea is indeed very sharp.
Of course, as a kung fu movie, it is indispensable to lean on the banner of nationalism. This seems to be the glorious tradition passed down after Bruce Lee's "Jing Wu Men", which is very interesting. (My favorite film critic Hayabusa Kazama published an article "How Difficult Is Not Being Humble or Being Overbearing, Looking at Nationalist Emotions from the Ip Man Boom" http://www.mtime.com/news/2010/06/02/1433341.html This is a good description of this film cultural phenomenon for reference. ) Yuan Heping can make Southern martial arts master Su Qi'er go all the way to the northeast to fight foreigners. Yu Rentai can make Huo Yuanjia comprehend martial arts and immediately compete with masters from various countries. Even movies from the Zhang Che era will involve There are conflicts between Manchu and Han, so I'm not letting the young man, played by the martial arts champion, Ye Wen beat up the Japanese, and lay a foundation for ten in the future. Of course, I'm sorry for the audience. The final ending is naturally the same as most Hong Kong Kung Fu movies, family reunion, a set of standard routines are finished, there is no surprise, let alone a breakthrough.
Nostalgic play style
Yen Zidan is good at modern fighting skills, so even if Wing Chun is a sharp boxing style of close-fitting short hits , it becomes fist to the flesh in his hands, and with a strong sense of rhythm. However, Du Yuhang was born in martial arts routines, so it is naturally more authentic and traditional to play Nanpai boxing. Wu Zhi Liang Xiaoxiong obviously considered this, so he designed for Du Yuhang a traditional fight similar to Liu Jialiang's film tricks.
The biggest highlight of this nostalgic style of fighting is its ability to highlight the exquisiteness of Wing Chun techniques. Almost every play can flexibly incorporate the skills of indexing, ringing, and arming into it, highlighting the squareness of Wing Chun. But it can cover everything. But it is a pity that although there are many subtleties in the play of this film, they only stay on the surface. For example, after Ye Wen learned Liang Bi's kung fu, he competed with the big brothers. Although he did not keep his hands in the same class, Liang Xiaoxiong only let Ye Wen take advantage of the moves. Afterwards, the big brother's reflection revealed the result of this competition. significance. But this scene was originally Wu Jinzhe's best opportunity. If the conservative big brothers were restrained everywhere, they were obviously at a disadvantage, and they would be able to show the transformative significance of shabby and new.
It’s worth mentioning that "Ip Man's Prequel" is like "Mr. Zan and Looking for Money". The display of Wing Chun's six-and-a-half stick method is very vivid. From training to battle, the image of the stick is small and broad. Show it. In the final battle, Ye Tianci played against Ye Wen. The design was also very good. Ye Tianci used different martial arts such as karate and judo many times, including the techniques of elbow punches learned from Ye Wen. The meaning of returning to the other body. In the face of large-scale attacks from opponents, Ye Wen is often passive. This also objectively reveals the shortcomings of Wing Chun as a short-strike method in actual combat. For the martial arts world, which is deeply intertwined, this also requires courage.
Although the story of Qiu Litao's "Ip Man's Prequel" is unconventional, the action does not have much breakthrough meaning, to a large extent it is like a Wing Chun Kung Fu propaganda film. But this Hong Kong-style movie can remind kung fu fans of the golden age of Hong Kong film industry and relive the old dreams of kung fu. When watching a character in a movie play tricks, I can’t help but excitement popping out of my brain such terms as "one palm and four poses", "iron refers to the inch," and "tiger and crane double shape". After seeing a lot of unbelievable stunts and modern boxing, and occasionally returning to tradition, it feels very good.
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