Preach in words. - Don Tears
There are usually four misunderstandings in acting judgments.
First of all, use your own preferences to define the level of acting skills.
They are generally like this, "I like to be introverted and you are too strong, and I accidentally let you have no strength."
Second, take the basic skills of the actor as the ultimate criterion.
For a mature actor, acting "natural without trace" is only the basic skill, but many people's focus is to compare who is more natural, if you judge the level of acting skills in this way, it is actually nothing more than "always in the first grade", and some people are still in "kindergarten".
The third is to confuse the two states of conventional performance and creative performance.
For example, the character's regular sitting and walking and smiling, like a policeman, a thief or a farmer, this is a basic performance of the fusion of naturalness, and there is nothing commendable, and the complex emotional transmission and tension performance under the fusion plot is the place that really witnesses the actor's skill, it is not a few strokes on the script, but a vivid and rich expression that jumps on the screen.
In addition, some people regard comedy performance as a yardstick to divide the level of acting ability, which is not correct.
Because genre films should never be used as a broad standard.
Based on the above misunderstandings, many people believe that acting is a matter of opinion.
But this is not the case.
If you clarify the misunderstanding, the acting judgment has rules to follow.
Hong Kong actors can be roughly divided into four levels.
Corresponding to the quasi-film emperor level, film emperor level, professional level and top level respectively.
Its meaning is as follows.
The quasi-film emperor level includes most of the Mesozoic generation and some senior actors, due to lack of experience or poor talent, the means of performance are slightly single, the role is usually the same, some actors even have the problem of not performing smoothly, but when they encounter good directors and scripts, plus better play, they can win the Film Emperor Award.
The film emperor level includes most veteran actors, but it is not the highest standard for judging acting skills. The threshold is actually to perform "natural and traceless", in other words, as long as the basic skills are polished enough, they have the opportunity to win the Film Emperor Award, but they may not necessarily have a stronger performance, and sometimes the award depends on the opponent and interpersonal relationships.
Professional-level actors are more capable, their performance is stable, they may not have a very wide range of plays, but they will not fall behind in the opponent's play, and they can play with almost any actor, but usually lack exceptionally amazing creativity and performance cases.
The top-level camp is similar to the "works and other body" of scholars, they have many classic works to analyze, there are many amazing cases in the performance, and the ability is unfathomable.
And all these hierarchies should be based on the enumeration of works and the analysis of performances.
No other judgment of impression streams, personal likes and dislikes, can be accurate.
This article is only a brief elaboration on the different levels of actors.
Quan dang a brick throwing jade.
Quasi-movie emperor level.
Take Wu Yanzu, Zheng Yijian and Jin Chengwu as examples.
These three people are very representative.
Wu Yanzu is a beautiful teenager who was once a beautiful teenager, and his resources are also quite abundant, showing dedication and concentration.
However, there are more supporting scenes, and the works of the main pick beam are rare and difficult to be amazing, and the best performance of his career or in Jackie Chan's "New Police Story", he also won the Best Supporting Actor Award at the 41st Taiwan Film Golden Horse Awards for his role of "Guan Zu".
From "SWAT New Human" and "Purple Rain Storm" to "Pupil of the Beast", "Three Forks" and "Disciple", including the later "King of Guns" and "Eavesdropping", Wu Yanzu is not without resources, but he has never been able to transform into a powerful actor or commercial idol of sufficient magnitude, and his acting performance has been hovering in the middle.
Zheng Yijian and Jin Chengwu are very similar.
The performance is natural and accurate, belonging to the higher level of the idol camp, but there is almost no growth and change, and the difference between the before and after of the career is only in the appearance from youth to maturity.
From the perspective of works, such as Zheng Yijian's "The True Colors of New Heroes", "Boys Should Enter the Bottle", "Ancient Puzzle Boy" and "100% Feeling", the later "Double Heroes", "The First Commandment", Jin Chengwu's "Chongqing Forest", "If Love" also includes "The City That Never Sleeps" that many people respect.
They all correspond to the act according to the type, either crisp and clean, or shy and shy, from expression to limb, whether angry or introverted, all the same, if the means, Jin Chengwu is more single than Zheng Yijian.
Wu Yanzu is always one step away from breaking the cocoon, and the acting skills of Zheng Yijian and Jin Chengwu seem to freeze in time.
The depth of entry and empathy are slightly weaker.
There are many actors at the film emperor level.
Take Ren Dahua, Liao Qizhi and Lin Xue as examples.
Many people regard the Film Emperor Award as the highest honor, but just as the unified examination paper generally takes care of the vast majority of candidates, the threshold of the Film Emperor Award is actually not as high as imagined.
As long as the actor's performance is smooth and natural, in fact, there are already qualifications, and the rest is the strongest problem among the finalists, and because of the selection rules or interpersonal problems, there will also be cases of missing pearls and unfair results over the years.
For example, the three people in the example, their performances are extremely natural and fluent, one is introverted, the other is versatile, and there is a ben-me prominent, they are also the actors that the director likes to use, and it is suitable to put anywhere.
In terms of representative works, Ren Dahua chose "Tracking", "Wen Que" and "Thief of Years", Liao Qizhi chose "C+ Detective" and "Witness", Lin Xue was "Gunfire" and "PTU", if you compare it, Lin Xue is relatively to pick some directors, he is especially suitable for Du Qifeng's hands, without the strong adaptability of Ren Dahua and Liao Qizhi.
Although Ren Dahua only won the Film Emperor Award once, Liao Qizhi only has one male supporting award, and Lin Xue has no award at all, but their acting ability must belong to the ceiling of the Film Emperor level, and other Film Emperor level actors need to be matched by popularity and idol temperament bonuses.
The depth of entry into the play is generally sufficient, but the ability to empathize and express is insufficient.
Professional-level actors began to be scarce, and the difference between them and the film emperor level was that they had more amazing explosions.
Take Wu Zhenyu, Zhang Jiahui and Liu Qingyun as examples.
These three people are similar but different, Liu Qingyun has the highest starting point, Wu Zhenyu has a higher starting point, and Zhang Jiahui has undergone many years of experience.
But the actual acting performance is that Zhang Jiahui's depth of entry into the play and the tension of performance are the strongest, followed by Wu Zhenyu and Liu Qingyun at the end, which may have subverted the impression of many people.
Liu Qingyun can be called the most special actor in the Hong Kong film industry,
There is no problem for you to put him in a chaotic fight in "The Birth of a Word", no problem in putting him in the "Dark Flower" where the two males are facing each other, or in the era change type of "Dangerous City" and "The Great Magician", he is always an actor who will never lose even if he does not win, he is the mainstay in "Dangerous City", and even overshadows Liang Chaowei in "The Great Magician".
But his play path is actually limited, such as "True Heart Hero" that can't control the Yappie style, his handsome hippie stiff and pretentious, whether it is orchid fingers, squeezing eyes or deliberate shaking of walking, all of which make people play and have no drama, and a film cooperated with the mainland shows a single means of performance.
Wu Zhenyu actually has a very high ceiling, with super-ceiling works and performances such as "Infernal Affairs 2", but he quickly moved to the paranoid and neurotic genre mode after "Ancient Puzzle Boy", and the characters began to feel the same.
Zhang Jiahui's style is represented by "Witness" and "Sweeping Drugs", which are also very able to summarize his "fighting" style, but since "Witness" soared, he began to repeat the drama until it was completely solidified.
Their difference is also obvious, there is a very simple way to verify, mention their names, what is your first impression?
You may remember the depth and unfathomable depth of Wu Zhenyu in "Infernal Affairs 2", and you may also remember Zhang Jiahui's tyranny in "Witness", and Liu Qingyun may not have a particularly prominent scene that makes you remember, because his performances are all constant, from the first movie to the "Bomb Disposal Expert 2" so far, it has never changed.
Stability, on the other hand, is never a performance that can be remembered by the audience.
Liu Qingyun is actually almost the same type of actor as Ren Dahua, but relatively speaking, he is more stable than Ren Dahua, and he is more loved by directors and film critics, so he may be regarded as more skilled.
Although Zhang Jiahui and Wu Zhenyu have amazing creative cases, the thickness of the works is slightly weaker.
So all three are in this category.
There are only three top actors.
Double beams and one guo.
If you really want to define the level of acting, you should look at it from the perspective of the actor's performance creativity.
For example, Liang Jiahui's character creation in "Cold War", or Chow Yun-fat's form in "The True Colors of Heroes", as well as Aaron Kwok's surprise in "Peerless", Liang Chaowei's outbreak in "Infernal Affairs", and Wu Zhenyu's precision and neatness in "Infernal Affairs 2", this performance can be understood as a high-level level of performance.
For actors, the more performances of this level, the more radiance they become.
And if you can't find works and performances of this level throughout his career, it actually means that he is just a mediocre person.
It is customary to speak in terms of works, with each person listing five films separately.
Liang Jiahui chose "Lover", "New Dragon Gate Inn", "Chess King", "Black Gold" and "Cold War", and the strongest works and performances are "Cold War", "New Dragon Gate Inn" at the end.
Liang Chaowei selected "Spring Break", "Dark Flower", "Fancy Years", "Infernal Affairs" and "Color Ring", of which "Infernal Affairs" and "Color Ring" can be tied for the strongest, while if the amazing "Infernal Affairs" can be ranked first, the other four are second.
Aaron Kwok picked "Father and Son", "Favorite", "Hundred Years of Floating City" and "Peerless", "Taoist Down the Mountain", the strongest performance is "Favorite" and "Peerless", the other three are juxtaposed.
From the above works, those who understand the movie and have seen it all should know the difference between the three people.
Liang Chaowei pressed the audience with a look in "Infernal Affairs", Aaron Kwok beat the arteries with emotional tension in "The Favorite", and there was a one-stop succession in "Peerless", while Liang Jiahui made a textbook demonstration with a pressure and amazing performance in "Cold War".
Therefore, as far as the three people are concerned, when it comes to the level of performance stability, fierceness, accuracy and the width of the play, Liang Jiahui wants to win at present, but when it comes to the amazing performance, Liang Chaowei and Aaron Kwok have to take a step forward.
Looking at the entire Hong Kong film scene, when it comes to the thickness and quality of the works, there is no fourth person to the right of the three of them.
Liang Chaowei has not performed well in the past decade, having seen the trailer of "Operation Fox Hunt" before, and he has a sense of dissatisfaction, and the quality of the recently filmed "Nameless" is unknown. Leung Ka Fai has no new works, Aaron Kwok has five works to be screened, "When the Wind Rises Again" can observe his and Leung Chao-wai's winning and winning hands, and a pure Hong Kong film is currently being filmed.
The thickness of the work and the award honor Liang Chaowei is the first, the seniority and stability of Liang Jiahui is the first, and the trend is Aaron Kwok is undoubtedly the strongest.
Therefore, in terms of synthesis, it may be said that they are on the same side.
Acting is a fascinating topic.
But it takes a break through the fog of subjectivity, prejudice and obscurity to see the real landscape.
If there is any disagreement, you can nominate.
But remember that the work speaks.