I really don't know what happened in these twenty-two years? On Sunday evening, I specially charged a member of a video website to watch Du Qifeng's 1999 work "Dark War", a short 90-minute old movie. After the end, it was still not enough, so I went to look for a few clips of Shuang Liu. A lot of people have cut the opposing scenes of the two in "The Hurt Locker 2" together. Although the editing techniques are superb and the actors are the same actors, I couldn't help laughing when I saw it. After all, it's been twenty-two years. No matter how the film is told, or the audience's aesthetics, everything becomes so thorough in the blink of an eye. Like a person who was out of time and born in the wrong era, standing in front of the screen quietly moved by the language and narrative rhythm of the last century. From a vertical perspective, even in Du Qifeng's works, "Dark War" can be regarded as a very restrained and reserved work. Just looking at the name: Dark War, the sense of sight in my mind seems to be a lot of thrilling and exciting scenes of war between good and evil, such as "Drug War", "Cold War", "Reverse War"... But "Dark War" and other wars It's different. This is a movie in which no one was injured and no bomb exploded from beginning to end. The biggest climax scene is no more than the two male protagonists holding the same sports car in the ending, ignoring all police cars and ambulances. Surrounded by, recklessly accelerating forward. And what happened to that car? Nothing. The policeman played by Liu Qingyun got out of the car silently, and the robber Jiang Yang played by Liu Huazai sat in the car. The digital counter counted down the time excitingly, and Liu Qingyun's back was not in a hurry to leave. Looking at the picture carefully, he pursed the corners of his mouth, and seemed to be smiling clearly but surely. - He understands him well. At that moment, I couldn't help covering my heart in front of the screen. The timer reset to zero, and there was no explosion. Andy, who pretended to be dead, climbed onto the driver's seat, blood still hanging from the corner of his mouth, but he laughed so wantonly and rode away in the night wind. I like this ending so much—it should be said, I like this movie so much, I like the era when this kind of movie was made. At that time, no one made a fuss about illness, no one was sensational, and the position and posture did not need to be so rigid, and love, hatred and hatred did not need to be so quirky; at that time, some people patiently read the overtones, and some people appreciated the implicit and meaningful beauty... Just like Shuang Liu In the same way, confidant love is nothing more than that he hears his overtones, and he understands his unfinished meaning. To be honest, cat-and-mouse games are not uncommon, right? The sympathy between the police and the thief seems to be a popular subject both at home and abroad. I myself have seriously followed the American drama "White" Collar", Yuan Tanli has read "Silent Reading" with similar settings. But when I think about the works I have seen in recent years, I don’t know why, there are fewer and fewer works of this kind of position and identity, and the modern background. Even "The Hurt Locker 2" has been criticized. The character change of the protagonist is too abrupt, the main melody is a heroic sacrifice, and all values and three views are held up, as if for fear that right and wrong will snowball into a snowball, and a little bit of false propaganda It's about to make this society tragically decline. And I like "Dark War", it seems to have such a little bit of willful rebellion - I like its sense of relaxation. When Liu Qingyun and Andy Lau shared the gunmen in the car, Liu Qingyun said: Bring the gun. Andy Lau seemed to be stunned for a second, and then heard Liu Qingyun impatiently say: I want to get out of the car - he got out to repair the mechanism that shielded them - it's as simple as five words, there is no redundant explanation, and even a bit very It is worthy of the disgust and free and easy taste: what do you think about you? Can I still hurt you? Idiot, what are you still doing... No matter how you think about it, it's not a dialogue between two hostile police officers and gangsters. But Andy Lau understood, he readily handed a gun, raised his lips and smiled tacitly - damn, it's so beautiful. What is the opposition between good and evil, what is the speed of life and death, those old-fashioned hatreds and resentments are extremely boring. The so-called hard work of life may be remembered in old age, and the only pleasure worth cherishing is that quick and passionate moment: a short moment when one soul really understands another soul. So Liu Qingyun finally said: Don't worry, how could I forget you. Said so naturally, so casually, so casually and without hesitation. That sentence can be said to be a promise that I have over-interpreted. It is even more touching than Andy's legendary "You will remember me if you are a little sorry". Because... when a person is forgotten, it is the real death. The Andy in the movie must understand. He finally got his wish, and he can live forever in He Shangsheng's heart. Just 72 hours ago, He Shangsheng was nobody in his life, just like the unknown girl he met on the bus, destined to be a passing passenger in his life. Hua, whose deadline was approaching, chose to use the last 72 hours of his life to complete a stunning turnaround, ruthlessly impress them, and succeeded in realizing immortality in their gazes. It turns out that true apocalyptic romance can be like this. There was no tsunami and earthquake, no zombie virus, no bloody hatred—there was only a passing moment, and he could read his eyes. This kind of meaningfulness in indifference, confidence in relaxation... This is not just a relaxation in emotional expression; Throughout the film, He Shangsheng's role as a police officer is slack from beginning to end, from the beginning when he faced the bank robbers alone, to calmly facing the explosives on the rooftop, until he left Hua's sports car at the end. His slack is because he knows, he's smart enough, sees through enough, and there's nothing to make a fuss about... And what about the film's slack in terms of stance and value? There is a very interesting scene in the film. When Hua, who is disguised as a woman, escapes, the villain and the police go to the bowling locker room to check at the same time. Just separated by a wall, two horses run to check their companions at the same time... That picture is completely meticulous. The balance arranged, there is no difference between the good and the bad, the intelligence of He Shangsheng and Hua, and the stupidity of the policeman and the younger brother. There is also a playful relaxation behind this balance, as if the director was just making a joke at will - what, do the good guys have to be smarter than the bad guys? I just don't care about your unconventional and solidified notions of right and wrong. Behind this relaxation, it reflects the era in which the film was filmed - if you think about it further, it is probably my over-interpretation. In any case, I'm always more willing to appreciate stories like this. The terminally ill thief and the brilliant policeman, the masters of the last three days of their lives, are filming in today's age, and I don't know how loud, exaggerated and pretentious they are. Then the script of the dog's blood was performed by them with a light and shallow comfort and happiness, like the aftertaste and frustration of a wake up from a dream last night that melted into snow. To make an inappropriate analogy, like today's milk tea, what cheese milk caps, taro balls and pearls, gorgeous names and gimmicks, back to the corner tea restaurants in the 1990s, simple black tea tea bags in coffee cups and saucers Add evaporated milk, let those with sensitive tongues sip it, and still have a long-lasting fragrance and comfort. ——How lucky I am to have a tongue that is still sensitive, I am even lucky to be able to like "Dark War". If you look at today's film, television and literature, every time you feel like you've been beaten in the face by an overly expressive and overly forceful emotional drama, Shuang Liu's dashing in the middle of the night is like a shallow crease on a white paper, it doesn't hurt, it doesn't hurt much Trying hard, even touching that mark after so many years, it will still make people lose their minds faintly. Who wouldn't be distracted by such a picture - when He Shangsheng asked Hua to get on the bus for the last time, Hua tilted his head and smiled at him, and I laughed in front of the screen. They left the world's siege and chasing and went wherever they wanted, and I was singing Miriam Yeung's "The True Story of the Flying Girl": "Ignore what kind of luck it takes to get the priest's blessing for three meals and one night.
View more about Running Out of Time reviews
