Xing Ye's "Kung Fu" finally received all the traditional photos, and made a simple and passionate Kung Fu dream to the fullest, without trying to make too many personal interpretations. And Chen Kexin's filming of "Martial Arts" was directed at rebellion from the very beginning. The highlight failures of the whole film are probably rooted in this.
Tang Long is to be Liu Jinxi, not the "return to the world" under the traditional model: you see, so many retired knights are mostly hidden in the wild; there are few people who are hidden in the city, and they are more willing to be marginalized people in society. Noras seem to have to leave unrestrainedly and thoroughly, and don't worry much about what to do after leaving.
And Liu Jinxi has to worry about this: not only does he not leave the society, but he is unwilling to be on the margins of society. He came to a traditional village dominated by clan forces, married a local woman, got married, had children, worked, respected the clan organization, obeyed the village convention and folk customs... In the end, he was almost listed in the genealogy and never ceased. It is a foreigner, and even children can go to the school run by the ancestral hall. (Marry a Beijing girl! Take a Beijing registered permanent residence! From then on, it’s not BYD! It’s no problem for children to go to school!)
Liu Jinxi’s move is not only to take a step forward on the basis of tradition, but also to solve the problem of "what to do after leaving". . His approach is a reaction to the traditional martial arts world: "Xiamen use martial arts to violate the ban", which has always broken social norms and then establishes its own rules. Even "returning to the rivers and lakes" must follow the rules of the rivers and lakes, and try not to have relations with social norms. However, Liu Jinxi took the initiative to seek to integrate into social norms, and even seek the asylum of social norms. Is there a knight in there?
Not only there is no knight, but there is no martial arts. Liu Jinxi has not shown martial arts for ten years, not only to avoid people's eyes and eyes, but also because revealing martial arts will hinder him from integrating into society. Only one of the two can be chosen between social norms and social rules. Choosing the asylum of the former means severing all ties with the latter. When you show off your martial arts, you are in the arena, so you must not leak the slightest and delay major events. For Liu Jinxi, martial arts is not only useless, but the higher the martial arts, the more it suffers. In the first ten years, he pretended not to martial arts and almost succeeded. Later, every time he used martial arts, he made his situation worse and even failed. Finally, he realized that "pretending" was useless, so he went a step further, and he really abandoned his martial arts.
How firm is Liu Jinxi's choice, and he is willing to make all efforts for it, at all costs. In the film, Tang Wei asked: On the day you arrived in the village, if you didn't meet me, would you marry any other woman and start a family? ——Yen Zidan bowed his head and said nothing, everything was silent.
However, social norms are not so easy to accept him, and the martial arts world is not so easy to let him go. The famous detective Conan played by Takeshi Kaneshiro, ah no, Xu Baijiu, is the representative of the former, and cannot accept that a person in the river enters the social norms and escapes the punishment mechanism of the social norms. The seventy-two evil spirits played by Wang Yu is the representative of the martial arts world, and Liu Jinxi is not allowed to get out of life and death. In this case, Xu Baijiu's gang Liu Jinxi's deal with Seventy-two Land is understandable: it is the conflict between the two systems. In contrast, Liu Jinxi at least agrees with social norms, and Xu Baijiu and him are nothing but contradictions among the people.
For a long time, as far as martial arts stories are concerned, the society outside the arena has always played the role of providing a fighting venue (an inn!) and a victim (a second child!). No one has ever explained the ecological relationship between the martial arts world and the general society: how does the two coexist and how to achieve an ecological balance? It feels like Chen Kexin is going to explain this, but in the final analysis, he still opposes the two, seeing only contradictions, not symbiosis. Tang Long became the number two figure in the martial arts world. Why was he willing to enter the general social norms and be an obscure Liu Jinxi from scratch? The explanation given in the film only boils down to personal enlightenment, which is too weak. What is the world of martial arts like? In the movie, it is also a group of Jiangyang thieves: not only the seventy-two land is really Jiangyang thieves, the two gangsters in the opening are Jiangyang thieves, and even Xu Baijiu counts the most powerful people in the rivers and lakes, all of them are Jiangyang thieves.
I can't believe that this would be Chen Kexin's omission or incompetence. It can only be understood that Chen Kexin actually has another idea: there is no fucking martial arts world. "Wuxia" is basically an anti-wuxia movie.
If understood in this way, the above-mentioned "compatibility of the two systems" problem will be self-defeating. It turns out that it is not a problem at all.
At the same time, I understand why no one can be called a "wuxia" in a movie called "wuxia".
If Chen Kexin is willing to understand this way, there is no problem in itself. But when a movie is made, it is always necessary to justify itself and persuade the audience. It seems that this task was not accomplished well, and there are too many thunder spots in the film.
Even the big villain was killed by thunder.
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