The first director was Hu Jinquan, the second director was Cheng Xiaodong and Tang Jili, and the third director was Cheng Xiaodong and Li Huimin. In these trilogy, Tsui Hark always served as executive director and producer. Any name can be startling, not to mention the big names in the starring role.
But fame is not the point.
I have always felt that the most important thing in a good movie is the atmosphere. No matter the picture, music, plot, or dialogue, every frame and every frame must naturally exude the unique temperament that the story should have.
What is martial arts?
Long swords, white horses, blue silks, chattering about gambling, wine and wild shops; distant grass, sunset, yellow sand, evening, magazines laughing and singing in front of the bonfire.
Throwing a pair of ink landscapes into the air, during the time it falls to the ground, is martial arts. On the horseback slope, Linghu Chong two-stringed qin served with wine, and in front of the Fusang Langren Camp, the Eastern Invincible played a pipa laughing at the red dust. He told Wentian that I just wanted to sing with you all until dawn.
In Hu Jinquan's early films, these had already begun to emerge... until he filmed The Swordsman, until the appearance of Tsui Hark's master and apprentice - Hong Kong's new martial arts movies in the 1990s. In the Chinese dream, the martial arts and rivers and lakes that have been wandering for thousands of years have become very clear on the big screen in an instant. Yes, this is the feeling, this is the world of martial arts in our imagination.
By the way, here is a memory for Uncle Zhan. It's a pity, since then, the laughter of Canghai has become an absolute sound.
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