Fascinated by a movie, I prefer to trust my own feelings rather than relying too much on professional skills. The so-called feeling is that in Quentin Tarantino's movie wearing a black suit and talking a lot of rascals, it is the classic standing and smoking gunfire in To Qifeng's movie, it is the alienation, indifferent emotion and indifference in Wong Kar-wai's movie. Sophisticated, captivating lines. Of course, there is also John Woo's use of trench coats and double guns to deduce extreme violent aesthetics. And this "The True Color of Heroes", known as "Hong Kong's "Godfather", is the jewel in the crown and the pinnacle of John Woo's work.
A large part of the success of "The True Color of Heroes" is that John Woo shot "True Color". As the saying goes, "Only a great hero can be true to his true colors, and it is a true celebrity who loves himself." John Woo poured his feelings and mental journey into it, and only then has this Bible for Hong Kong men.
At that time, John Woo experienced the glory of being a teenager and the embarrassment of being lonely for a long time. Woo Yusen, who was once famous in the Hong Kong film circle due to the fire of his debut novel, has gone from Shaw Brothers to Golden Harvest and then to Jinyicheng for more than ten years. When his talent was questioned by everyone and his existence was forgotten by most people, he resolutely filmed this "True Color of Heroes".
He summoned Di Long, who was expelled by Shaw Brothers at that time, Chow Yun-fat, who was called "box office poison", Ye Jintian, who was impoverished, and Leslie Cheung, whose acting skills had not been recognized for a long time. It has produced a miracle in the history of film and raised gangster films to the same height as kung fu films.
Years later, John Woo said: "When I was the most frustrated and lost, I was once thought to be outdated; also when I was most sure of myself and most in need of friends, Tsui Hark strongly supported me in the remake of director Long Gang's masterpiece in the 1960s. "The True Color of Heroes". During the filming, I was able to see myself from Chow Yun-Fat, Dillon, Leslie Cheung and Tsui Hark, and at the same time, I got to know others better. Finally, I was able to find my identity in the film. Dignity. Even so, I don't think of myself as a hero, I just value friendship and know that I am grateful for everything." As a counter-attack, John Woo shot out the things that had been accumulated in his heart for a long time, and he proved himself like a hero. , and also want to wake up the audience with their true colors.
How do despairing men get their dignity back? Just like Brother Ma said in the movie: "I waited for three years, just to wait for an opportunity, I want to fight, not to prove how great I am, I want to tell others that I must do what I lost with my own hands. Take back!"
Wearing a windbreaker, holding two guns, and holding a toothpick in his mouth, the little brother who slaughtered the Quartet on the screen is a real man, but he may not be called a hero. When he dragged his stump leg on the rooftop and roared with tears, he was the true hero.
The use of slow motion is John Woo's weapon. Those slow motions in his films are like French romantic songs and dances. Even if they are dripping with blood, they have an intoxicating scarlet romance.
In the promenade of Fenglin Pavilion, in Rou Mi's Southern Nocturne, in the intoxicating lights, Brother Xiao Ma hugged the dancer as if dancing, and secretly hid a Beretta pistol in the flowers. in the basin. Wu Yusen used classic slow motion to make the already tense situation even more tense, and at the same time, he also used the language of the lens to reflect the calm and unrestrainedness of Xiao Ma. At the end of the promenade, the moment the Japanese-style shoji door was pushed open, the little pony with a frivolous smile and dancing steps showed fierce eyes and murderous aura. In the elegant and charming disguise and violent and bloody killing, we can also appreciate what is the real violent aesthetics that even Hollywood masters such as Quentin should worship.
In addition to light and shadow, "The Love of the Year" co-created by the "Brilliant Two Saints" Gu Jiahui and Huang Zhan not only added icing on the cake, but also left a legend on the music scene. "The gentle laughter is sending me warmth, you are injecting happiness into me, and the strong electricity is softly saying that the long road is about to pass." Brother Leslie Cheung's delicate and tactful voice sounded softly, with a little melancholy and a little sadness, which made the rivers and lakes heroic and awe-inspiring. Righteousness turned into tenderness around fingers, and the hot scenes and tragic endings were attributed to the lake of calm heart. "Today I try to stand shoulder to shoulder with you again", this is the man in "The True Color of Heroes" is love, although thousands of people have gone, although the rivers and lakes are far away, it is still difficult to cool and warm blood.
Today, when Hong Kong films are on the decline, the author can’t help but wonder, why the all-powerful masters and movie stars of that era are still in the world, why can only use stylized smiles to test the audience’s laughter, but can no longer replicate the classics of that era ? Why are shooting techniques and tools more and more advanced, but the film quality is not as good as before? Once those film masters insisted on the original intention of creation, did they forget it in order to cater to the box office? Is the loyalty and arrogance of the rivers and lakes in the past, but now only exist in the ravings of idiots? Is it the fault of this era, or are we missing that era?
"With the body outside the body, the dream within the dream", that era is destined to pass away, and today's movie dream can only drift in the ocean with a single tree.
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