"Preach in the text." --Tang Tears"
Cannes Film Emperor, Thousand Faces Film Emperor and the son of Hong Kong.
These titles have been repeatedly mentioned and deeply interpreted, and in addition to their fame, they seem to be boring.
Especially in the past decade, in addition to Liang Jiahui and a "Cold War", others have rarely created new creations, Zhou Runfa has been able to stabilize in "Peerless", and Liang Chaowei and even the quality of his works and performances have repeatedly declined.
At the same time, there are three other actors.
Compared with the senior actors, they are all latecomers, because they have not experienced the golden age of Hong Kong cinema.
However, it runs counter to the fading momentum of Hong Kong's film.
Even in progressive stunning.
It is also an arrangement of another era.
In 2005, Aaron Kwok defeated Leung Ka Fai with "Three Forks" and won the first Golden Horse Film Emperor.
This is a clarion call, symbolizing that the pattern of the film industry will change.
This encouragement prompted Aaron Kwok to start devoting almost all of his energy to the film, and he also began to have a strong interest in the title of film emperor, just as he longed for the title of "most popular male singer".
But acting is not the same as singing.
The polishing of singing skills, as long as there is a famous teacher, master the method and practice hard, it is a person's business.
The growth of acting skills not only requires opponents, but also the oppression of external forces, which is much more difficult than the growth of singing skills.
In other words, if your acting performance has been bad, it is difficult to get a better script and opponents to give you a practice, which requires that the actor must be able to seize every opportunity to improve himself.
Take Aaron Kwok as an example, if there is no amazing outbreak in "Three Forks", the later "Father and Son" and "Silver Empire" will not be related to him, then perhaps the director of "Murderer" Zhou Xianyang will not ask him to be the male lead, let alone "The Favourite", and may not even have the drama with Liang Jiahui in "Cold War".
However, there is really no such thing as "accident" in this world.
Therefore, Aaron Kwok defeated Wu Zhenyu and Li Canchen with "Father and Son" the following year, and even the Golden Horse Emperor of Zhuang.
In the following years, Aaron Kwok attacked the city and became the brightest actor in the Hong Kong film industry.
At the time of Aaron Kwok's Chuang Zhuang Golden Horse, Zhang Jiahui had just gotten rid of Wang Jing's bad film.
Officially put into Du Qifeng's hands and began to metamorphose.
The movies "Big Event", "Dragon City Years" and "Harmony is Precious" are Zhang Jiahui's metamorphosis trilogy.
Many people will unconsciously ignore the director factor, but in fact, whether it is the problem of acting skills or the quality of the work, it has a great relationship with the director.
Especially in the process of actors exploring the path of the play.
In 2004's "Big Event", Zhang Jiahui put away the previous softness and laughter, and began to have a cold posture initially, to the "Dragon City Years" and the sequel "Peace is Precious", he has actually completely transformed into place, but these two movies are not his home field, so they cannot be as dazzling as the protagonist.
By the 2008 "Witness", he finally soared into the sky and became a golden statue and a golden horse film emperor.
The drama path is also solidified.
His subsequent works include the tragic literary film "Red River", the dual personality "Mong Kok Prison" and the sister article "Informant" of "Witness", filming a funny "Fortuna Inn", and then from "The Great Hunt" all the way to "Guild Wars" and "Sweeping Drugs", and it is not difficult to see from these films that Zhang Jiahui's good play path is dark "fighting fiercely".
But after the movie "Sweeping Drugs", its scenes began to be messy.
Lin Jiadong played all the way in the early days.
Whether it is police, literature or comedy, he does not refuse to come, or probably does not have the capital to choose a play.
At about the same time as Zhang Jiahui, he was also trained under Du Qifeng's hands.
But he had to stay up for years.
From his golden biography, it can also be seen that before the first film emperor with "Tree Trick" in 2017, he had five nominations for best supporting actor.
Although Lam Ka-dong's film path is not too smooth, he has always been an ambitious filmmaker, such as supervising the film "The Ring" in 2010, which won the Best Film Award at the 30th Hong Kong Film Awards.
When the epidemic struck, the Hong Kong entertainment industry was almost completely shut down, and only two news came out at that time, one was the start of filming of Aaron Kwok's "Broken Net", and the other was Lin Jiadong's "Hand Rolled Cigarette".
The latest news of a new film is Zheng Baorui's return to the dark style of "Wisdom Teeth", which is quite sharp.
At the scene of the movie screening, Aaron Kwok specially went to support and praised the protagonists Lin Jiadong and Arthur Liu for their excellent acting skills.
In the past two years, the two have cooperated frequently, first with "Disconnected Network" and the latest "Temporary Robbery", both of which are pure Hong Kong film style.
Lin Jiadong is in full swing.
In the post-Hong Kong film era.
Aaron Kwok, Zhang Jiahui and Lin Jiadong gradually grew up.
It is no accident.
Aaron Kwok has the widest and most amorphous play among the three, Zhang Jiahui is suitable for the dark fighting style, and Lin Jiadong has a little fierceness.
Can be used as a reference for "Peerless", "The Great Hunt" and "Tree Trick" respectively, and the three films are all excellent works.
Seriously speaking, the three of them actually began to transform from du Qifeng's hand.
Or you can joke about the phrase "the teacher goes out of the same door".