Tsui Hark, a well-known symbol in Hong Kong and even in the Chinese language world, when talking about Old Monster Xu, most of them will be developed from three angles, namely martial arts, special effects and reality metaphors. The type has revolutionized the traditional martial arts movie.
The martial arts movies of Hu Jinquan, Zhang Che, and Chu Yuan still seem to be full of chivalry, but what Xu's martial arts represents is a new school of martial arts, possessing a romantic and unruly temperament, which is unmatched by traditional martial arts. Yes, Tsui Hark swiftly slapped his pen and ink in his martial arts films, expressing his views on the world, the opening of "Seeing a Hero in the New Shu Mountain", the refraction of power control in "A Chinese Ghost", "Swordsman" "The free and easy treatment of the strait separation in "fascinated the audience.
Xu Hark created the martial arts myth with his own hands, but buried the martial arts myth he created with his own hands. Xu's martial arts have a romantic chivalry, free and easy mind, and warm feelings. On the other hand, Xu Hark’s heart for change has never stopped. 1995 "The Broken Blade" was a movie in which Tsui Hark himself "buries his martial arts myth.
's dirty streets and messy hair are all telling a primitive and brutal atmosphere.
revisits "The Knife" , Found that Tsui Hark’s talent is far more than romantic martial arts. In the repackaged "One Armed Sword", Tsui Hark broke the martial arts myth created by himself. The romance and elegance of a laugh in the sea is no longer found. "Stay on the road and kill everyone" after all is a romantic dream. The real arena is the soul of "Knife". A broken arm and a broken knife compose a chilling beast arena.
Instability is the ultimate goal of Tsui Hark, where the weak and the strong eaten are sublimated into a real and savage world. The shaking scenes bury the myth of Xu's martial arts. This is also a movie that blurs the background and dynasties. The setting can be placed in the present or in the future. The law of the weak and the strong eating constitutes this wild beast, Tsui Hark seeks change, and the real world is like this. Isn’t it true that "the beginning of man is not inherently evil"?
In order to pursue authenticity, Tsui Hark adopts the perspective of news reports, and the irregular movement of the camera deepens the viewer’s perception. This is the real and savage world. Here, there is no sympathy between the enemy and us. The only monk with chivalrous temperament suffers from the beginning. People have calculated that brutality has become the only pass for this arena. An uneasy and uncertain factor has always permeated the film.
"Knife" abandoned the martial arts film’s pursuit of visual strangeness, and instead emphasized a kind of emotion "cruel" Those nightmarish images, the violent irregular use of mirrors, and even the effect of zooming in to close and distant details produced by the fast zoom are contrary to Tsui Hark’s meticulous shooting methods of martial arts films in the past. On the surface, it is a kind of influence. However, under Tsui Hark’s control, it condenses into a unified theme.
The action scene in this film is no longer a martial arts way of flying to the sky, but it is a real combat routine, with a punch to the hearty thrill! Everyone has a knife, and even the most beautiful little spirit is planted with a knife in his heart. Zhao Wenzhuo suffered a lot in the film because he had to fight with one hand. In the main scene of fighting with Xiong Xinxin, Zhao Wenzhuo's punch stunned Xiong Xinxin, and this scene was also recorded by the camera.
When the film was released in Hong Kong, on the eve of the return, the people of Hong Kong were panicked and did not know the future. The appearance of Tsui Hark’s film added to this atmosphere. Of course, the box office encountered Waterloo because of the film’s The anger was too strong. The audiences back then needed a movie to calm themselves down too much, and Tsui Hark's advanced consciousness was not accepted. But "Knife" has become Tsui Hark's most controversial film in the decades since.
is also Tsui Hark's most overlooked movie.
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