1. Chinese-style anti-system
Filmed in 1992, Li Wang, with some futuristic colors, tells the story of the prison in 2001. Criticize the system through the special carrier of prison. Chinese-style anti-system has always had a Chinese color. China's history has become too accustomed to overthrow an emperor and then push another person to the throne. Therefore, for thousands of years, there has been basically no major change, and the social situation is almost entirely pinned on the quality of the emperor alone. Therefore, China's reform has always been incomplete. Of course, King Li did not become king in the end. If he wanted to become king, he would have become king after killing Ah Hai, one of the four heavenly kings. But he didn't. King Li carried a world of chivalry, "Confucianism breaks the law with literature, and chivalry breaks the ban with martial arts", King Li swept away the rules and taboos of the world with inch strength and courage.
2. Non-Chinese Body Aesthetics
But the aesthetic taste of the flesh displayed by Li Wang is not Chinese. Chinese people pay attention to: the body is hairy, and the parents will not dare to damage it. This kind of unbridled destruction of the human body is deeply in line with Freud's theory of personality: in addition to the instinct of life, there is also the instinct of death, that is, there is a hidden desire to destroy in everyone. The instinct of others or being destroyed by others, and can get great pleasure from this process, so in Freud's view, all people are more or less a bit of abusive or masochistic habit. Movies like Power King must have a lot of hardcore in the world.
For Orientals, this taste seems a bit out of place, and I still feel a little shudder at movies like Laomei's Chainsaw. Hong Kong movies have bad tastes, but they don't seem to have heavy tastes. For a film like Li Wang, the layer color is already high, just the purity of Erguotou in liquor. I have basically reached the limit of what I can accept. But he tirelessly displayed the strong body of men, that masculinity, which can be said to be the essence of Zhang Che. It's no wonder that the action director of the film is Guo Zhenfeng, one of Zhang Che's fathers. He played the fourth gecko in Zhang Che's masterpiece "Five Poisons". He also designed the actions of many of John Woo's films in the future. Dragons are equally impressive. In terms of movement, although it is already consciously expressing the movement, it seems a little stiff.
3. Some digressions
Let's talk about something off topic. This film seems to have a great influence on Zhou Xingchi. The image of the director in it is very similar to the man with the golden gun in the domestic Lingling paint. In Kung Fu, Xing Ye's presentation of his body is also very similar to this film. The Tathagata's palm that hits the wall is almost the same as the hole in the wall by King Li in the film.
And Lin Xue, why did he disappear without a trace, and suddenly he was killed at the end.
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