Gaoshan
of the new martial arts movie Recently, "Heroes Hu Jinquan " was shortlisted for the best documentary at the 59th Golden Horse Awards, which attracted widespread attention. The name Hu Jinquan is relatively unfamiliar to young friends. In fact, he is one of the first world-renowned film directors in the Chinese film industry. As early as 1975, "Chivalrous Girl" won the highest technology award at the Cannes Film Festival, which is also China The film won its first award at the Cannes Film Festival.
In 1978, Hu Jinquan was named one of the world's top five directors by the British authoritative magazine "International Film Guide", the first Chinese film director to receive this honor. The first Asian director to receive this honor was Japan's Akira Kurosawa , and the Chinese director who was named one of the "Big Five" after Hu Jinquan was Zhang Yimou .
Hu Jinquan is the pioneer of 's new martial arts movies in modern times. His works not only create a unique style of martial arts movies, but also the works of directors such as Ang Lee , Tsui Hark , Wang Tong and Wu Yusen are all influenced by his works. Influence, it is no exaggeration to call the "hero" of the modern new martial arts.
Although the new wave movies that emerged in the 1980s with directors such as Hou Hsiao-hsien as representatives, are like a mountain, supporting Taiwanese movies, but although the mountain is high, it is difficult to block the farther martial arts scenery. The scenery of
includes " Dragon Inn " built by Hu Jinquan out of thin air at the bottom of the stream next to the Xiluo Bridge in Yunlin, and "Chivalrous Girl", which can easily leap to the top of the bamboo forest and swoosh to kill the wicked. With "Dragon Inn", Hu Jinquan has achieved commercial success in Southeast Asian theaters and even Chinese theaters in Europe and the United States; with "Chivalrous Girl", he won the highest technical committee award at the 28th Cannes Film Festival, giving the Western world a glimpse The magic of martial arts.
Hu Jinquan himself has achieved an unsurpassable mountain.
New Wave Movie Peach Blossom Garden
"When I discovered Director Hu's film, there was a feeling of 'Peach Blossom Spring', which may not be an appropriate analogy. But it reminded me of walking along the path, and then suddenly, there was a group of ancient The bereaved family has no communication with the current era, but it is very beautiful." For the documentary "Heroes Hu Jinquan", director Lin Jingjie spent 4 years making it. He not only included Hu Jinquan's restored film clips in the documentary, but also interviewed Xu, who worked with him. Feng , famous director Wu Yusen, Tsui Hark and other heavyweights reproduce Hu Jinquan's creative concept and film aesthetics.
Director Lin Jingjie saw director Hu Jinquan's works for the first time, and it seemed like he had discovered a new world.
Although it was a beautiful world, Lin Jingjie did not shy away from saying that the nutrients of the new wave of Taiwanese movies are too rich, "I know director Hu Jinquan, but I am not familiar with it. For fifth-grade directors, we just study the feelings of Taiwan's new movies are enough. Besides, Taiwanese movies in the 1980s were broken, I don’t know that there is actually a road behind the cliff.” Tu Xiangwen, a film critic who planned the special exhibition of “Island Jianghu: Martial Arts in Taiwan”, did not deny it, although he loved to watch martial arts since he was a child. However, when I was in high school, I started to come into contact with new works such as " " in the 1990s. It was not until the university met the special exhibition held by the Film Archive (now the Film and Television Center) that Tu Xiangwen became the first from "Dragon Inn". The second time I saw Hu Jinquan's "Jianghu".
"But I was still young at that time, and I just thought it was full of brilliance, not as dull as the old film I imagined." Tu Xiangwen didn't realize Hu Jinquan's ability at the time, and only thought that this 1967 old film was brilliant and timeless.
"The world of "New Dragon Inn" is Director Hu's world. When we broke into his world and ran to the restricted area with a student, the restricted area was the world we saw when we were studying, it was something we saw when we were young. The scene and the picture, we used a method to go in. After entering, we hope to recreate the character of Director Hu, but it is impossible! I don’t think anyone can replace the character of Director Hu.”
——Tsui Ke
Senior Film Critic Tu Xiangwen specializes in martial arts films
Mirror position editing and play to the extreme visual impact
Hu JinquanWhat's so great about being a martial arts master? It is not too much to use Hu Jinquan as the dividing line between new and old martial arts films.
In terms of martial arts dramas, Hu Jinquan's previous martial arts films were also inspired by operas, but he used to keep the camera fixed, similar to the way of "recording" to capture the dance-like duel between characters. Hu Jinquan's duel was not a series of slashing and slashing without any rules. Perhaps it was a two-edged "锵～锵" first, I took a step back, the enemy took two steps back, their eyes met, and then they quickly approached with a sword. There is also a pause in breathing.
Tu Xiangwen explained, "The fights in Director Hu's works are closer to ergonomics, and the masters should not make random moves, but be careful and only strike when the right time is right. Director Hu's films have a lot of ups and downs, and I describe them as confrontations. Experts will observe first, and will not draw their swords as soon as they appear on the field, and there will be a pause between the shot and the defense. Therefore, in Hu Dao's martial arts films, there are few slashing and swiping, but rhythmic fights. It is the appearance of a master duel." The created fighting rhythm also opened up new possibilities for martial arts films.
On the other hand, taking the bamboo forest play in "The Heroine", Hu Jinquan first spent 25 days shooting this scene of less than 5 minutes, just to wait for the best weather and natural light. When Hu Jinquan dispatched the fighting scene, he did not let the actors hang the wire, and only used the bouncing bed. In addition to echoing the possible range of ergonomics, the real action also made the audience feel more connected.
In order to shovel and kill the wicked, Xu Feng first kicked with Bai Ying's arm strength, jumped on the top of the bamboo forest, then jumped to a higher bamboo forest, then swooped down, killed the pursuer with one knife, and then did a backflip. , landed steadily. About 15 seconds of the picture, the tight rhythm makes the audience even breathe in sync with the two.
Hu Jinquan first took the audience to see Bai Ying holding up Xu Feng from the side, then looked up at Xu Feng swinging among the bamboo forests, watched her swooping towards the villain from bottom to top, and finally changed the perspective so that Bai Ying and Xu Feng were at the same time To solve the stalker, Xu Feng backflipped and landed lightly.
Hu Jinquan uses multiple perspectives to quickly switch to increase the visual experience, and also adds Peking Opera tumbling movements when jumping to make the action scenes more fancy.
"Director Hu Jinquan was more pragmatic than anyone at the time. At that time, the technique of hanging the wire was still very bad. I think at least it was not good enough for Director Hu. Most of what you see in "Chivalry" is jumping. I remember the first time It's incredible to see, you don't need to hang people up, then it's not called Qinggong, but like him, creating the feeling of martial arts in small jumps... From the perspective of traditional opera, there is nothing like this It's even greater."
--- Ang Lee
But how can the multi-view transition be streamlined in 15 seconds? A film roll consists of 24 frames of negatives per second. If the number of frames in the middle is removed, the original action will change from 24 frames to 8 frames, and the visual experience will think that the action is faster. Tu Xiangwen said: "Actually, it is to use the vision to temporarily hold the response. In editing. Many actions are not necessarily very amazing action design, but they are presented in the way of action design or editing. In fact, it is not boring to watch now, and it is not out of date. Some scene scheduling and shooting methods are not at all. Losing to the current action movie, and there was no special effects and no computer animation at that time, I feel that he has something special in comparison.”
Tu Xiangwen analyzes Director Hu Jinquan’s use of “stealth” editing to speed up the speed of action scenes.
Lin Jingjie further explained that Hu Jinquan used editing to make many action scenes seem unbelievable, but in fact, he also brought into play the characteristics of the medium of "movie" more thoroughly. "For example, the text narrative is only 'a train goes by', but there are many ways to do it on the movie, maybe it's going from left to right on the big screen, or it's going straight towards the audience." The second way In other words, the visual impact to the audience will be greater than the first one, and it will also exert the unique charm of the movie.
"The duel in the bamboo forest of "Chivalrous Girl" can be filmed like this? This is impossible, but the film can make it possible. When the director thinks about how the camera presents the art, plus editing, it can produce a poetic The sense of rhythm." Lin Jingjie couldn't hide the exclamation in his eyes, "Is there any dialogue in this scene? The story is told purely through images, and the beauty is presented through images and editing. This is the movie!"
"When I returned to China to shoot "Crouching Tiger, Hidden Dragon", those images in my mind are my whims and dreams, so I must thank Director Hu Jinquan... I still have to thank him for the appearance of the movie,It is imprinted on every negative I made and deeply rooted in my heart. It cannot be erased or changed. I am sure that if it affects the films I make, I will also affect young filmmakers or creators, forming the so-called Inherit it! "
——Ang Lee
Director Lin Jingjie believes that Hu Jinquan has brought the media characteristics of "movie" to the extreme, giving the audience a new visual impact.
The all-round director
Hu Jinquan, who is hard to find all over the world, was nurtured by his parents since he was a child. He studied ancient writing and was proficient in painting. With his artistic talent, he entered the film company at the age of 19 to design advertisements, posters, sets, etc., and also served as displays and props in the art group, and performed "The Slapper" directed by Yan Jun . In 1958, after joining the Shaw Brothers film company , in addition to being an actor, Hu Jinquan also served as a screenwriter and assistant director. The creativity of
's experience transformation all burst out when Hu Jinquan was directing the film. From the screenwriting story, art landscaping, actor modeling, martial arts action, photography to editing, Hu Jinquan had already planned it in his heart. Hu Jinquan pays attention to everything from the big set to the actors' hairstyles. The movie is set in the Ming Dynasty. Hu Jinquan studied the number of steps in the building that was limited by the etiquette at that time. Figure " and other ancient paintings, and strive to be authentic.
Director Hu Jinquan built a Dragon Gate Inn out of thin air by the Zhuoshui River, creating an unsurpassed martial arts legend.
"The charming features and elements of Hu Dao's martial arts films can be found from opera after dismantling them. He touches on various arts, he also understands history very well, and he is also very sophisticated in the film. The portraits of the classics are restored as much as possible, and these things can be seen in every link of the film.” Tu Xiangwen believes that Hu Jinquan integrates all elements of history, opera, painting, etc., not only for the audience to “see” it, but also for the rhythm of the Peking Opera gongs and drums points. "Listening" is more involved.
"The difference between Director Hu and other directors of martial arts films is that his will controls the whole of the film, from action scenes to literary dramas to seeing all the places, all in his mind. I think directors all over the world, There are not many people who have such ability, and this is his very unique place!"
Director Hu Jinquan took care of and designed everything from art landscaping to actor modeling.
Hu Jinquan is gone, but the spirit of the immortal martial arts movie will live on forever
"The most shocking thing is the scene of "The Heroine", wow! I don't think anyone can make it. Director Hu's work was so many years ago, but we can't do it back Under the aura of Director Hu, he is definitely a giant in the film industry many times stronger than us.”
——Tsui Hark
Director Hu Jinquan’s “Dragon Inn” after its release in 1967 not only made a high box office in Taiwan, but also Southeast Asia set box office records. When asked if Taiwan could make a similarly sensational martial arts movie, Tu Xiangwen said frankly: "It's very difficult!" The inherent limitations of martial arts movies require the construction of buildings and characters that span time and space out of thin air. These cannot be accomplished with tens of millions of dollars. At present, neither the Hong Kong nor Taiwan film market can afford such a cost.
However, the inability to make martial arts films does not mean that the rivers and lakes are dead.
Tu Xiangwen took Wu Yusen, who studied under Hu Jinquan as an example, "In fact, we can still find the chivalrous spirit and action design in the film, and we can see the influence of martial arts films or Director Hu on him. The manuscript left by director Hu Jinquan of
wrote: "In China, there has never been a class of 'martial arts', and there has never been such a 'professional'. No matter what dynasty or generation, no one can sit idle and hold a single sword. A chivalrous person is righteous. When the road is unclear, he draws his sword to help. In Chinese history, "chivalry" is an adjective for behavior. Everyone in any profession has martial arts skills. Otherwise, how can he live?"
The spirit of "chivalry" does not have to be Lu Jian is not flat and draws his sword to help, perhaps Hu Jinquan has learned to build the rivers and lakes through his life, which is also a kind of heroic demeanor. Although Hu Jinquan has traveled far, the "chivalry" spirit will not die in the movie, and the rivers and lakes will live on forever.
