Before discussing "Di Renjie's God of the Dragon King", it is worth noting that it forms a brand new movie series with "Di Renjie's Tongtian Empire". At the end of the subtitles, the appearance of a large number of character scene concept maps further supports this point (it is called the fourth easter egg, and it is also the longest easter egg). With that huge posture, it is no longer as simple as "I want to make a sequel" to the audience naughty, which almost means that it is a blockbuster series. In the field of ancient costume martial arts films alone, Tsui Hark has produced a number of film series, such as the famous "Shushan" series, the trend-leading "A Chinese Ghost Story" series, the "Eastern Invincible" series of chasing stars and chasing the moon, and the peak of the "Huang" series. The Feihong" series, etc., etc., the worldview of his films is very different, the concept of action design is also completely different, and the behind-the-scenes collaborators are even more different. Even "Seven Swords", according to some interview materials, Xu Keben also intends to expand the series, but it is difficult to achieve due to many reasons. Therefore, "Dragon King of Shendu" not only has the difference between the young Di Renjie and the middle-aged Di Renjie, but also Wu Zetian and Sha Tuozhong who run through the two parts. It is also Tsui Hark, Chen Guofu, Zhang Jialu and Shi Nansheng who cooperated in many ways to integrate into the history of ancient costumes. , detective martial arts, strange talk about gods and monsters, ninja monsters and other elements, relying on computer special effects, integrating traditional martial arts actions, and jointly creating another set of Chinese blockbuster series. In the face of "Dragon King of Shendu", many viewers will still be so critical: how can there be a sea outside Luoyang City, and the characters fight completely regardless of gravity... These settings already exist in "Empire of Tongtian", it is difficult to call it Defects. Like the 66-foot-long Tongtian Buddha and the incredible underground ghost market in "Empire of Tongtian", Tsui Hark loves exaggerated performances. In his vision, Luoyang City is like a row upon row of faces, hiding dragons and crouching tigers, and people from ten continents. In "Dragon King of Shendu", Shatuo is a Turk, Yuchi is a Xianbei surname, Yin Ruiji is from Fuyu, and the villain is from Dongdao. I tried to interpret it in this way. In the existing historical background of the Silk Road, Tsui Hark joined the imagination of the marine nation-a Hong Kong director's lingering inner feelings. So it can only be said that before this, many filmmakers were too rigid in their vision of the prosperity of the Tang Dynasty, and they did not seem to be making movies. But no matter how reckless he is, there are some established historical facts about characters that Tsui Hark has not changed. This is like Huang Feihong, Fang Shiyu, Hong Xiguan and even Ye Wen, no matter how they are adapted and shaped, they all have their own people, people-oriented, borrowing Personal destiny penetrates into national hatred and family hatred. When Tsui Hark chose Di Renjie from the official history, it can also be interpreted that he put aside the martial arts novels of Zhuanzhu Zhuzhu, Jin Yong and Liang Yusheng in the past, and entered a new creative environment, which is also the unification created by "Heroes". In the context, it is also the mainstream trend of the era of co-production. From the outside of the movie, this kind of cooperation has even crossed the gap between China, Hong Kong and Taiwan in the past. "Dragon King of the Gods" is also a cross-border cooperation movie. In the ten-minute subtitles at the end of the film, a large number of Korean special effects team members participated. However, Tsui Hark could not get rid of the influence of martial arts and novels after all. May wish to quote Lu Xun's "A Brief History of Chinese Fiction: The Six Dynasties: Ghosts and Spirits of the Six Dynasties": "China originally believed in witches, since the Qin and Han dynasties, the theory of gods and immortals has prevailed. Theravada Buddhism also entered the Middle Earth and gradually spread. All of these, all of them are known as ghosts and spirits, so they have been written since Jin and Sui Dynasty. "Because of this, I firmly believe that "Dragon King of Shendu" is a book of ghosts and spirits. God and monster films are full of a mix of ancient and modern Chinese and foreign films of different types. This is also the road of innovation that Tsui Hark has tried since "Butterfly Change". There have been failures and brilliance in the middle. That's the only way to explain the monsters, voodoo spells, and supernatural powers in the movies. As for the fun of CULT films such as bugs crawling around and flowers growing on the human body, as well as sarcasm and ridicule for the powerful, that is probably also a reckless move. Through the narration of the young Di Renjie, "Dragon King of the Gods" unfolds the Tang painting scroll with the gesture of recalling the past. Di Renjie continued to demonstrate a good memory and extraordinary fighting ability, but his encounters were always in prison, and he was arrested as soon as he arrived in Luoyang, and his past and future were also related to prison. The magic of this character is that even if he is not free, he can still control the whole situation and be omniscient and omnipotent. The oppression in space could not make Di Renjie really surrender. He was concerned with the temple, and he was upright and upright, and supported the stability and prosperity of the Tang Dynasty. The sense of space is an important step in the interpretation of "Dragon King of the Gods" and Di Renjie's series, from the panoramic view of Luoyang City to the Dragon King Temple, Swallow Tower, Dali Temple and the Palace Hall, which are displayed one by one, as well as the dyeing workshop, wharf and Bat Island outside Luoyang. Scenes. These scenes piled up with the help of the film and television base constitute the main body of the movie, and the rest are warships, underwater worlds and cliffs that rely on computer stunts. Earlier movies such as "The Great Magician" didn't have a big panorama from beginning to end, which was incomprehensible. The impact of the lack of space is needless to say. Perhaps comparing the concept map and the fragments, some people are still dissatisfied with the effect and texture, but it is undeniable that it is these scenes that spell out the style of the Tang Dynasty. That requires the audience to make their own combination. should not be forgotten In such a scene, the people of Dongdao reported that things had changed, and when they decided to evacuate, they sent a message with a whistle. This process was also repeated and emphasized in Luoyang. Tsui Hark's imagination is not only reflected in the big aspects, this time the weapon also has bright spots. It is dazzling to see how many weapons Yuchi Zhenjin has hidden. He has short and medium-range double knives, long-range hammers, and unexpected hidden weapons. Compared with his gorgeous equipment, Di Renjie, who has not yet obtained the High Dragon's Mace, can only be used for what purpose, and even the mounts have to be provided by others. In terms of villains, the powerful humanoid dragon king is a bright spot, and the biological weapons of Dongdao people are also very sturdy. But the most gorgeous equipment is the old master of Dongdao. He puts on invulnerable chain armor, professional rock climbing, and invincible sneak attack. It is no exaggeration to say that these things are more attractive to me than the underwater 3D and monster ship breaking. Of course, underwater horseback riding and human cannons are also very freehand, or chic. This comic character-style interpretation is also Yuchi Zhenjin's soaring soaring into the sky, and even more so, whether the characters are walking or fighting. At the end of "Empire of Tongtian", Di Renjie persuaded Wu Zetian with a powerful dragon, hoping that she would return to power in Li Tang. At the end of "Dragon King of Shendu", Di Renjie accepted the award and got the Kanglong mace bestowed by Tang Gaozong. In this movie based on the detection of a case by a detective, Di Renjie always has to go through a series of hardships, facing the unidentified companions who are both enemies and friends, and finally can complete the task openly. Compared with the villain who is not a climate, "Empire of Tongtian" is a one-man act, and "Dragon King of Shendu" is also a small group of people plus monsters that can only be found on the seabed. Di Renjie's opponents are obviously not strong enough. He can make further associations, and it is the emperor who really makes him feel the pain. Therefore, he has to use time as a bet and head as a bargaining chip. Undoubtedly, Tsui Hark tied Di Renjie's fate with the safety of the Tang Empire. Although the emperor was a tyrannical dictatorship, he was also able to move with affection and reason when the country was in crisis. Obviously, this is another exaggerated imagination, and it is also the Hong Kong director's beautiful vision for the superstructure. It is not difficult to remind people of the endless debate about the establishment. Fortunately, compared to "Empire of Tongtian", the tone of "Dragon King of Shendu" is slightly lighter, the suspenseful color is weakened, and the layout is more precise, which reduces the overall difficulty of solving the case, and is more like an adventure to the ocean. The simplest comparison, in "Empire of Tongtian", Shangguan Jinger, Pei Donglai, Sha Tuozhong died successively, the Buddha collapsed, the atmosphere was bleak, and the dialogue was solemn and sad. In "Dragon King of the Gods", the youth of the actors brings a bright tone, and Kenji Kawai's soundtrack is also more warm-blooded. When the oiran Yin Rui Ji, her appearance The way of the scene and the flashback narration are unusually dynamic, youthful and beautiful. Before and after, it caused waves in the hearts of the five characters in the play. Of course, good people can also say lily as a base friend, but such a routine joke is not necessarily a clever move. For a limited time, "Dragon King of Shendu" will also try some comedy techniques, such as Di Renjie's interaction with Sha Tuozhong and offering antidote to the dynasty. However, due to Di Renjie's exhaustion, Yuchi Zhenjin is a super fighting machine, and it is expected that he has excellent martial arts skills and medical logistics. Such a combination cannot fail. Such a fast-moving narrative has also led to the flattening of the characters in the movie, and the character characteristics of Shatuo and Wu Zetian are also passed by, and it is difficult to have a clear contrast with "Empire of Heaven". There are too many people who think that 3D special effects should be used to speak more profound truths than spectacle displays. But in fact, looking at Tsui Hark's works and most Hong Kong films, commercial entertainment is always given the top priority - not everyone wants to be a people's artist with both virtue and art, and it is only mentioned occasionally. The most exciting cliff fighting scene in "Dragon King of Shendu", with spectacle and design. The climax of the sea monster annihilation, the scene plus stunts. Both places can be used as an example. In a battle, the audience only cares about the outcome, death and injury. In fact, they have little impact on the relationship between the characters. Even in Hollywood, technology always talks about the conflict between right and wrong, advanced and backward. However, for a long time, Tsui Hark's works were always restricted by technology. Even though "Dragon King of Shendu" presented in front of the audience is fun enough and fierce enough, some people can't help but wonder, why can't Tsui Hark go further in his ideological realm? That's true, but isn't it too much to ask for... After all, like me, I just want to play from beginning to end, novel enough, exciting and gorgeous, weird, demonic, and evil, and that's enough. 【. But in fact, looking at Tsui Hark's works and most Hong Kong films, commercial entertainment is always given the top priority - not everyone wants to be a people's artist with both virtue and art, and it is only mentioned occasionally. The most exciting cliff fighting scene in "Dragon King of Shendu", with spectacle and design. The climax of the sea monster annihilation, the scene plus stunts. Both places can be used as an example. In a battle, the audience only cares about the outcome, death and injury. In fact, they have little impact on the relationship between the characters. Even in Hollywood, technology always talks about the conflict between right and wrong, advanced and backward. However, for a long time, Tsui Hark's works were always restricted by technology. Even though "Dragon King of Shendu" presented in front of the audience is fun enough and fierce enough, some people can't help but wonder, why can't Tsui Hark go further in his ideological realm? That's true, but isn't it too much to ask for... After all, like me, I just want to play from beginning to end, novel enough, exciting and gorgeous, weird, demonic, and evil, and that's enough. 【. But in fact, looking at Tsui Hark's works and most Hong Kong films, commercial entertainment is always given the top priority - not everyone wants to be a people's artist with both virtue and art, and it is only mentioned occasionally. The most exciting cliff fighting scene in "Dragon King of Shendu", with spectacle and design. The climax of the sea monster annihilation, the scene plus stunts. Both places can be used as an example. In a battle, the audience only cares about the outcome, death and injury. In fact, they have little impact on the relationship between the characters. Even in Hollywood, technology always talks about the conflict between right and wrong, advanced and backward. However, for a long time, Tsui Hark's works were always restricted by technology. Even though "Dragon King of Shendu" presented in front of the audience is fun enough and fierce enough, some people can't help but wonder, why can't Tsui Hark go further in his ideological realm? That's true, but isn't it too much to ask for... After all, like me, I just want to play from beginning to end, novel enough, exciting and gorgeous, weird, demonic, and evil, and that's enough. 【http://yule.sohu.com/20130928/n387376671.shtmlSohu Entertainment] Friendship recommendation: http://v.youku.com/v_show/id_XNjEzNzYyMjY4.htmlMovie public high class 130926: Tsui Hark's sky is falling and the stage is destroyed
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