Hello everyone, I am Muson, recently watched the movie "The True Colors of Heroes" whether it is for the current 70s, 80s, or 90s, and now after 00. This movie is also a film with nostalgic significance, and it is also the youth memories of many people #hero essence #
Huang Baiming once mentioned in his "New Art City Myth" that when mentioning 1986, he used the four words "wind and clouds", why do you say so, because at that time, "The True Colors of Heroes" was a film invested by New Art City Company.
Thirty-six years later, the status of this film does not need to be said more, how many times in Hong Kong's decades or more than a decade of film selection, it has always been the top of the list, its historical significance does not need to be said. Since the film was broadcast, gangster films have become another eternal existence of Hong Kong movies in addition to kung fu films, until today, infernal affairs, black astringency, banishment, all of which change the perspective to state the same jianghu righteousness, family feuds, men's dignity, and children's affection.
In 1989, in order to give Zhang Che a happy birthday, in "Righteous Courage and Courage", Ni Zhen played xiao luo opened his mouth and shut all day in the movie, which was not the famous words of Xiao Ma Ge, and has been imitating the plot of hiding and robbing everywhere, these details are all true reflections of the great influence of "Hero Nature" on the era at that time. Wu Yusen and Xu Ke joined hands at that time to create a strong personal style, emotional language, smooth action pictures, fiery and fierce gun battles, and the same heroic image that came out of nowhere at that time, I don't know how many supporters were attracted at that time, not only the mainland and Hong Kong, but even many young girls in South Korea at that time were overwhelmed by it.
The most wonderful scene has been exaggerated by countless people for many years, the southern nocturne in the Wind Forest Pavilion is intoxicating, the little brother holds the dancer in the corridor tossing and turning, and Wu Yusen's classic slow motion scene is particularly elegant and charming. Zhou Runfa's little ma ge changed from flirtatious laughter to poisonous eyes during the transition is so natural and smooth, the dancing pace and murderous momentum perfectly explain what is called violent aesthetics, which can be described by bullet Beethoven and violent Mozart.
However, the most classic scene is that Xiao Ma Ge read the newspaper on the street and learned the news that Hao Ge had lost his hand, when he threw down the newspaper and walked across the overpass expressionlessly, the loneliness of his back, the firmness of his steps, and the pride he put down three years ago, ragged and carried a rag bucket, calmly picked up the banknotes that Ah Cheng had thrown on the ground, and limped back to the basement with a small cart and ate a big meal. At this time, Brother Hao appeared and said; Pony, the letter you wrote to me did not say so. The two brothers' hands were tightly clasped again. Whenever I saw this scene, I would think of the Tianlong Eight Shaolin Temple that I had seen before. In the small Li flying knife, Li Xunhuan pulled up Ah Fei, who had lost his fighting spirit and drank all day...
Most of all when the hero is lonely
"The True Colors of Heroes" is about how men find their dignity when they lose their souls. At that time, we were still ignorant teenagers who had never done anything, sitting in front of the black-and-white TV at home, cheering for "what I lost must be taken back", for "I said that I would not let people point a gun at my head" When the heart was surging with emotion, did we really understand the hero's heart in Zhou Runfa's eyes, really understand the helplessness of The Dillon people in the jianghu, and really read the depression of Wu Yusen behind the screen?
That year, Wu Yusen was forty years old, a master of violent aesthetics for more than ten years, from Shaw to Jiahe and then to JinyiCheng, he could only shoot some untouchable comedy to make a living, and there was nowhere to release heroic feelings.
That year, Dillon was forty years old. A year ago, he held a dismissal letter in his hand and left Shaw, who had served him for eighteen years, and the letter read: Thank you for your contributions to the company over the years, once upon a time, the first beautiful man in Xiangjiang was tasting the desolation of the old pearl yellow.
That year, Zhou Runfa was thirty-one years old, the whole person was at the lowest point of life and career, the second entrepreneurship of life was so difficult, the king of long dramas walked on the big screen but could not create glory again, the movies he made all lost money, and since then he has been called Poison Hair.
Fortunately, Hong Kong is a place rich in grassroots myths, that era is still a heroic era, a frustrated director, a star who has been angry, a poison at the box office, in the predicament together, issued an earth-shattering boldness, a blockbuster, from then on to break through the clouds and fog to see the blue sky, the dragon out of the sea, soaring into the sky.