"Golden Swallow" Zhang Che Director Zhang Che Du Yunzhi Screenwriter Photography Bao Xueli
The film's location left Shao's Clearwater Bay, which is too familiar to Hong Kong film fans. It makes people's eyes bright, and the clouds are swaying in the chest. This was a location in Taiwan, and Director Zhang returned to his hometown, Taiwan.
Shaw Brothers attaches great importance to the Taiwan market, and has managed well and made a lot of money. Unfortunately, Chinese politicians are always a little bit taller than Chinese businessmen. The Taiwan government stipulates that foreign companies that make profits in Taiwan can only remit 20% of their profits. Shaw Brothers had no choice but to spend the money they earned in Taiwan, so many Shaw Brothers films were produced in Taiwan, which invisibly catalyzed Taiwan's local film and television industry. The rhythm of
's " Golden Swallows " is much slower than that of Hong Kong films. I wonder if Zhang Che and made adjustments for Taiwanese audiences' viewing habits. Anyway, I know that Taiwanese movies are slow-paced, such as Hou Hsiao-hsien's work. It is not the same as Hong Kong-made films.
Watching "Golden Swallow", I suddenly understood why Shao's most famous movie star in the same period was , Wang Yu and . Wang Yu became famous thanks to Zhang Che, even though he didn't think so. A
actor becoming a star is actually a process of deification, which is commonly called idolization. Actors must achieve this process of deification through representational film work. Films with such representational effects are hard to come by. The so-called representational effect of
is the image created by the film itself, which coincides with the social and psychological demands of the public, and contains the real social life content, so that the audience and the film can achieve a relatively deep empathy effect. There aren't many movies like this. When
is watching this kind of movie, the audience will have feelings for the actors in the movie beyond the movie itself, and a star is born.
Coincidentally, Zhang Che is such a director. Zhang Che's works focus on character building and emotional rendering, so that Wang Yu's image overlaps with the sad and arrogant male hero image in Zhang Che's heart. The two achieved each other, but without Zhang Che's ability to shape and transform, Wang Yu was just a reckless husband.
If " One-Armed Swordsman " opened the chemical reaction between Wang Yu and Zhang Che, "Golden Swallow" will undoubtedly further deepen and strengthen this reaction. Zhang Che is also more aware of his own style and characteristics, and expresses these styles and characteristics more proficiently.
Zhang Che's aesthetic style is explicit, flamboyant, strong, and somewhat Western. It is very different from the traditional Chinese style of restraint, subtlety, emphasis on artistic conception and point-to-point. The practitioner of traditional Chinese style aesthetics is Hu Jinquan .
The personal characteristics of all artists may have an original emotional trigger point, from which personal styles evolve. Zhang Che may be particularly moved by the sacrifice of life in the traditional Chinese historical spirit. Zhang Che always designs various scenes of sacrifice for his male protagonist to achieve the strong meaning.
From "Golden Swallow", we can see that Zhang Che's style has matured. This strong emotional style had a profound influence on Hong Kong cinema in the 1980s.
Bao Xueli's photography talent also added a lot to the film, a rare talent in early Hong Kong films. The cinematography and use really become part of the narrative and make the film refreshing.
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