Judging from the 64-year-old Liu Jiahui's recent photos, he has recovered somewhat from the pain of the past. Although his face is still thin and he has to rely on a wheelchair to walk, his complexion is much rosier than it was a few years ago.
This year is Liu Jiahui’s 8th year of stroke. After tragically falling ill in 2011, life also fell from the top. At the same time as having to say goodbye to his favorite Kung Fu movie, he had to deal with the unprecedented difficulties in life.
In fact, in 2008, Liu Jiahui was still able to independently complete various high-risk actions in "The Legend of Sword and Fairy 3"; judging from his spirit, his body was not inferior to the 30-year-old on set.
And no one thought that after filming "Flying Armor of Dragon Gate", Liu Jiahui suddenly suffered a stroke and suffered the most painful blow in his life.
people have blessings and misfortunes. Although this veteran actor who has been fighting for nearly 40 years in the Chinese Kung Fu film industry cannot be reproduced on the big screen now, he has left a lifetime of Kung Fu legend to fans.
When it comes to Liu Jiahui, Shaw Kungfu movies cannot be avoided; Liu Jialiang, the master of Nanquan, who is also a teacher and friend, is more like Liu Jiahui's guide to the path of shadows. Since
was adopted by Liu Zhan, a famous Nanquan kung fu master in his early years, his real name Xian Jinxi has rarely been mentioned by outsiders, and he was replaced by the catchy Liu Jiahui.
According to Liu Jiahui himself, he was very playful and naughty since he was a child. This is in line with the training requirements of martial arts. Because of his youth, he was taught by Liu Zhan and Liu Jialiang and his son, which gave him the foundation of authentic Nanquan.
Nanquan emphasizes the unity of waist and horse. Judging from the moves of Liu Jiahui's early kung fu movies, he has the most knowledge of Cross Fuhu Boxing and Southern Shaolin Boxing, and his strength and strength can be described as perfect.
In the 1960s, martial arts films and kung fu films have gradually prospered, and Liu Jialiang’s Nanquan finally has its use in color feature films. The stage experience accumulated in the early Cantonese fragment "Huang Feihong" has benefited him a lot.
With the continuous extension of new action techniques, Kung Fu movies no longer need to emphasize the sense of stage and routine. Reality and impact have become the new requirements of Liu Jialiang's action design.
dodge, attack, defense, and move styles are all based on traditional Nanquan, and the action becomes smooth and smooth. As a result, Liu Jialiang’s Liu Jiaban takes kung fu movies as the main genre, and the team has made considerable progress.
Compared with Liu Jialiang, who was born in 1937, Liu Jiahui and Liu Jialiang have a more mentor-apprentice relationship. Because they were young and studied Nanquan under the same roof, Liu Jiahui was more familiar with Liu Jialiang's design philosophy than Liu Jiayong and Liu Jiarong. The
horse step is the first step of Nanquan. Only when the bottom plate is as solid as a rock, the upper body fist can show its strength. And Liu Jiahui, who is born and strong, gives a strong sense of quality in the movie, and his stubbornness is also extremely useful to the audience.
After Liu Jialiang independently directed his first Kung Fu feature film "God Fight" in 1973, Liu Jiaban finally had his own shooting team; but at this time, Liu Jiahui and Zhang Che's longbow company's three-year contract was not full until 1976. He was able to join Liu Jialiang's command. Liu Jiahui, who was in the long bow of
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, was inconspicuous, except for the minor contradiction of cameo, the chance of showing his face was almost zero. Perhaps the sharp edges and corners of his appearance when he was young limited him to a certain extent on the screen.
In Zhang Che's Kung Fu films such as "The Allied Forces of the Eight Nations" and "Marco Polo", Liu Jiahui is unsmiling and has few words. In addition to beating people, he continues to cause trouble to the protagonist. The 20-year-old Liu Jiahui also became Fu Sheng in the film. One of the most feared opponents.
Of course, the emotions and fate that the two have established since childhood are indelible, and the commonality of kung fu concepts is also integrated into the movie. In 1976, Liu Jiahui played the first Kung Fu film directed by Liu Jialiang, about the young Huang Feihong's "Lu A Cai and Huang Feihong". As the fourth-generation authentic successor of Huang Feihong, Liu Jiahui added agility and alertness when shaping Huang Feihong; while ensuring that the essence of Nanquan can be displayed to the fullest extent, Huang Feihong’s new interpretation of Huang Feihong was instantly given. Different memory points of the audience.
Different from Guan Dexing’s unsmiling and unangered prestige, Liu Jiahui’s Huang Feihong is full of youth and has a strong sense of justice, facing the punishment and tolerance of lawbreakers; the depiction of Huang Feihong’s martial spirit runs through it, the image of the young Huang Feihong Let the audience make a difference.
In "Martial Arts" five years later, 26-year-old Liu Jiahui starred in Huang Feihong twice. At this time, Liu Jiahui has already faded away from the fledgling naivety.The tenderness and youthfulness of the master can be vaguely grasped from Liu Jiahui's role.
The narrative base of "Martial Arts Hall" is based on neighborhood fighting, north-south boxing, and Lingnan folklore. The audience can appreciate the elegance and common sense, which is a full tribute to the Cantonese version of "Huang Feihong".
Compared with the Cantonese version of mechanical fighting 30 years ago, the actions of "Martial Hall" are no longer the same. The fighting scene completely represents the pinnacle of Liu Jiahui's early career. Huang Feihong's moves are perfect contacts in the near and far, making the bridge section of the battle go smoothly and smoothly.
Huang Feihong in "Martial Arts Hall" inspired Tsui Hark's new version; perhaps he suffered from the loss of his own image, but Liu Jiahui was not as respectful as Guan Dexing's old man and did not see Jet Li's blood.
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After all, in the Shaw studios where Kung Fu is king, too many character emotions are displayed, but it becomes a burden for Liu Jiaban's movies. The roles that Liu Jiahui can play can almost be attributed to two types of positive harmony, and it happens that he also successfully completed the task. The most typical example of
, in Liu Jialiang’s custom-made kung fu films "The Thirty-six Rooms in Shaolin" and "Master of Shaolin Scaffolding", Liu Jiahui's Southern Shaolin monk has completed the transition between the positive and the harmonious roles. . At the beginning of
's performance, Liu Jiahui almost solved most of the subsequent problems. The seamless switching of the two identities of martial arts master and kung fu boy met Liu Jiaban's need for an uncomplicated role. From today's point of view, the rapid formation of the role has hindered the further development of its acting skills. But such a setting may be just right for Liu Jiahui, who is immersed in kung fu and enjoys it. In
's subsequent interviews, we realized that his young experience has made Kung Fu his life. For the bright moves of various weapons and the dismantling of moves, Liu Jiahui is enjoying it. Loving what he loves in movies has become the ultimate pursuit of his life.
In "Chinese Husband" released in 1979, the all-round presentation of Chinese and Japanese martial arts became the biggest attraction of the movie. Liu Jiahui, who was newly married, has become a spokesperson for traditional martial arts.
In the skill test, Liu Jiahui performed the essence of martial arts such as drunken fist, swordsmanship, and crutches, which opened the eyes of Dongying Ninja.
In 1998, in the TV version of "The Chinese Man" remake by Xu Xiaoming, Liu Jiahui appeared in a duel between China and Japan for the second time. However, he is more than a year old now. In the film, he is the father of the man and the famous martial artist in Shanghai Rong Baichuan. In the movie "Wu Lang Bagua Cudgel" after
, Liu Jiahui uses his personal skills to integrate into the Shaolin stick formation, the perfect combination of the individual and the whole; the ingenuity and uniqueness of martial arts appear in his movies in the 1980s.
arrived at "Maoshan Zombie Boxing" and "Eighteen Martial Arts", the blend of folk magic fighting and martial arts, the full combination of martial arts and folk customs.
Liu Jiahui changed his orthodox side even more. He was joking and talked and laughed with Wang Yu. A pair of live treasures instead filled Liu Jiaban’s movies with youthful vitality.
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The good times did not last long, and many people thought the Shaw Film Company When the glory of the times continues, the waves of the times have gradually thrown off the old routines. Liu Jiaban and traditional kung fu movies have been ruthlessly abandoned.
In 1985, when Liu Jiaban went to the mainland to film "North and South Shaolin", he was already showing fatigue; and the collapse of the Shaw dynasty, the once prominent Liu Jiaban fell into silence, and the vertical and horizontal union with his peers became inevitable.
Liu Jiahui's role reconstruction may not be as difficult as outsiders think. Just because of years of experience on the set, he was able to interpret the complex character of the characters after he got out of the umbrella. Of course,
goes from righteousness to evil, and it also stems from the unforgivable years. Time seems to be telling him: to keep the career of his life in the Kung Fu movies; Liu Jiahui, who has left Shaw Brothers, is over 30 years old.
and later played the Golden Wheel Fa King in "The Legend of Condor Heroes" and the deadly scholar in "Tang Bohu Spots Autumn Fragrance" left a deep impression on the audience.
and the protagonist are willing to be green leaves, which more or less represent the passing of an era; perhaps for the middle-aged Liu Jiahui, as long as he can keep playing in front of the screen, he is already very satisfied. Although
left Shao, Liu Jiahui no longer became the protagonist. But the meticulous grasp of the role and long-term professionalism have also attracted the respect of colleagues.
includes two fights with Jet Li in "Iron Chicken Fighting Centipede" and "Flying Sword of Dragon Gate", which seems to be fulfilling the heroism of the opponent. WhoDon't know, 20 years ago, he was the best Huang Feihong.
's care for Hong Kong Kung Fu films does not only come from Hong Kong. Quentin Tarantino, as a Hollywood director, was even more influenced by Hong Kong kung fu movies when he was young. His "Kill Bill" is like an expression of self-consciousness, and more like a tribute to Hong Kong Kung Fu movies.
Luo Lie died in 2002, and the role of the white-browed Taoist seems to have become a regret for Quentin's casting. Even when he was too anxious to put himself on the battlefield, Liu Jiahui gradually became the best choice for his white eyebrows.
The white eyebrow Taoist, a strange master who is both righteous and evil, has somewhat defined Liu Jiahui's 30-year ups and downs in the film industry. The unpredictable temperament, the precepts and deeds to the younger generation, the fall in life when he is proud, more and less project the real life of Liu Jiahui.
In "Kill Bill 2", Liu Jiahui has a childlike look and a long beard. He speaks authentic Cantonese and his elder demeanor is on paper.
Perhaps no one thought that the energetic young man who was a big boss in "Hong Wending Three Breaks the White Lotus Cult", 24 years later, he became the most reluctant appearance.
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With the shrinking of Hong Kong movies, Liu Jiahui followed the Hong Kong Dragon and Tiger Warrior to go north, and played an important supporting role in film and television dramas. Including the evil sword fairy in "Legend of Sword and Fairy 3", and Shi Yu in "Legend of Shaolin Temple 3", his dedication and professionalism have inspired the younger generations deeply.
Helplessly, Liu Jiahui's most glorious time also passed away with the golden age of the year. We can see his peaceful old age and calm heart after experiencing property disputes.
I think time can take away his life, but never take away his legend.
