The choice of a generation of masters-the debate of "anywhere"

Let’s take a look at a classic movie on the last day of this week~ Let’s calm down and watch the effect better. Hey

"The Great Master"

​​The meaning of flowers and willows outside the Golden House, the morality of the rivers and lakes within Guanshan; the "three of Ip Man's Wing Chun" "Axe", Gong Ruomei's Bagua palm is unpredictable; Ding Lianshan is incognito and forgotten in the rivers and lakes, Gong Baosen is famous for the face of China's self-contained family; Gong Er's unforgettable behind, Ye Wen is indifferent and indifferent to the road ahead... They are all like yin, yang, universe and eight deceased, opposite and unified, intertwined in one point, entangled with each other, and influence each other, forming this complex world of thousands of people. The choice and life of a generation of masters are the debate between east and west, the difference between the inside and the inside, and the difference between front and back. In the process of weighing and struggling, the crossroads of life form one after another, which is fate and finality. Each of them is facing the argument that there is nowhere to escape.

Wong Kar-wai wants to express in the film, the center has this mixed. A troubled society, a turbulent country, and a precarious government are unable to build a Wan'an mansion for the people. They can only rely on their own ability, regardless of the size of the characters, the rise or fall of fame, the formation of teams, whether they are united or not. The life of the grand masters seems to have no direct relationship with the Japanese invasion, but they will be poured into the building, and there will be no eggs. At that time, the road that they and martial arts were destined to have learned in one would be extremely difficult. Ding Lianshan's disappearance, Yixiantian's escape from the dead, Ma San's traitorous pursuit of prosperity, Gong Er's lifelong obsession, and Ye Wen's turn of spring and winter, all revolved around the Japanese invasion, going round and round, and related. I want to have a righteous spirit to stay innocent in the world, but I am in the center of the whirlpool and cannot get away; I want to "there is a light, there is a person, and a person has love", but there are people who have to cut off their emotions, destroy the dust, and hide in Hate and grievances; believing that "you will never forget, there will be reverberations" to move God, and then freeze yourself with "I am God's will"; support "the country is not perfect, how can there be divisions", and hold a contest of martial arts, try to get the master under. They are contradictory, but they exist at the same time. These people want to do something for their homeland, but they know the powerlessness and helplessness of a man's arm blocking a car, floating and shaking the tree, so they are hesitating, not knowing the way forward, they can only continue to explore Make a choice, keep moving forward in an attempt, towards the unknown. Fortunately, a generation of great masters did not lose themselves. They were ups and downs like a flat boat in the historical torrent, and finally found satisfaction in the game of “horizontal and vertical” opposition. Sad, but helpless, the age is determined, and people are destined to spend time in the debate.

"The biggest advantage of movies compared to other art lies in the highly infectious details." The editing and trade-offs of the film's speed and slowness reflect the "horizontal and vertical" debate to the maximum. Western movies tend to use fast editing when expressing gun battles. Fast-paced shots are understandable. However, domestic martial arts movies also blindly use "fast" to express martial arts, abandoning traditional Chinese kung fu, and turning 100s of steel into softness with the fingers and softness. , The core of four or two strokes. And Wong Kar-wai grasped this point well, using a slow motion with a proper length ratio to express the core of the martial arts, the world, the human relationship, and the country. The expression of violence aesthetics is eye-catching. Only the "vertical" straight up and down reflects the decisive determination of "fast". It is far better to use the "horizontal" upgrade lens interspersed in it, the horizontal and vertical interweaving speed and slow combination, visual and auditory will have a deeper satisfaction in impact and aesthetic enjoyment. The extreme play has the performance of the upgraded shots of subtle things: at the beginning, the camera repeatedly closes up the raindrops on the corners of the hat; at the end, the focus gathers and the fluff of the clothes cut into the sky by the knife; the whole story is a competition A close-up of Shi's footsteps—both raindrops and snow have been raised. In the competition of running clouds and flowing water, the gorgeous scenes almost performed are more exciting, and they have achieved an organic combination of "speed and slow".

martial arts is the same, emotion is the same. Ye Wen's repeated search for power was in the 64-hand competition, all because it was an exchange of human feelings in Kung Fu. Favor is in the arena, it is the slowness of the fast, the slowness of the swan goose, the slowness of ten years of life and death, the slowness of Ye Wen holding a button for two years, and the slowness of Gong Er shaving his hair. After his death, the remaining ash was handed over to Ye Wen's hand. "Fast and slow" blend together, and the biggest feature of the film is the "horizontal and vertical" debate. The

film finally takes the golden Buddha as the node, which is also a game of "the four are all empty, the world is difficult to integrate". Everyone in the world has turned a thousand times, making one choice after another between "horizontal and vertical", and then crossing the "horizontal and vertical" The long-awaited reunion encounter, without asking the true meaning of the world, only between rebuttals, maybe being light behind is the best destination for everyone. "Anyway"The argument, there is a true meaning in it, I have forgotten to distinguish. Text/Su Yifei Typesetting/Lu Wenjie Responsible Editor/Ren Kejia