"Preach in the text." --Tang Tears"
In 1996, Jacky Cheung won the Most Popular Male Singer Award from TVB for the first time.
He acted very surprised and said a word of thanks to TVB for its adult beauty.
This year, he also won the "My Favorite Male Singer" in the music scene, the "Excellent Chinese Song Gold Award" of the Top Ten Songs and the Top Ten Chinese Songs with "Love Letters", and also won the "IFPI Highest Selling Champion Singer Award of the Year" and the "Annual Sales Champion Album".
As far as the performance of the song world is concerned, this should be the peak year of the god of song.
He also announced his retirement that year.
But looking back, it was more like a "faint move".
Jacky Cheung's film path was actually only opened a year later than the music world.
After releasing his first album "Smile" in 1985, he was invited to participate in the "Thunderbolt Loudspeaker" directed by Hong Jinbao in 1986, and because of his soaring popularity in the music world, Hong Jinbao was forced to continue to add dramas to him.
He won the Academy Award for Best Supporting Actor at the Academy Awards in 1989 for "Carmen in Mong Kok", only one year later than Liang Chaowei, who debuted three years earlier, and then won the Golden Horse Award for Best Supporting Actor in 1990 with "Smiling Proud of the River", and stood out in the three male protagonist configuration of "Blood Street" and was nominated for the Academy Award.
From these achievements, he is actually outstanding compared with the same period of movie stars.
But there is a very strange place about Jacky Cheung's performance.
As a supporting role and multi-protagonist, especially in comedy scenes, he usually seems to be better, and once he alone dominates films that are especially positive, the quality drops significantly.
For example, the multi-protagonist "Best Son-in-Law", "Blood Street", "Curry Pepper" and "East becomes West", and the supporting role plays "Eight Star Annunciation", "Mong Kok Carmen", "Smiling Proud of jianghu", "Qiannu Ghost", "Bright Moon Shines on the East" and "Rats and Dragons", their performances are not only superb and extremely creative, while "The Legend of the Prince", "The New Marginal Man" and "Very Detective" are not enough.
The reason for this is, or in the limitation of the play road.
Debuting in a comedy movie and performing well, and the interpretation of the small characters in the supporting roles is excellent, resulting in more follow-up resources being biased towards these two categories.
In fact, this is a very normal phenomenon, the film will be typed, and the actors will also be.
But actors not only need to hone their techniques, but also need to try to form their own unique force field through continuous performance.
The limitation of Jacky Cheung's drama path and resources has made him receive awards and praise in the industry on the surface during this decade of film road, but in fact he has not been fully experienced and grown, which is embodied in the single and boring means of character shaping, and even includes the recognition of scripts and roles, and the exercise of control ability, which is also extremely insufficient.
There are geniuses in this world, but there are no geniuses who can grow very high without adequate exercise.
Before Zhou Runfa won the Golden Horse Film Emperor with "Waiting for the Dawn", he made countless niche literary and artistic films, although it was regarded as a "box office poison", but the solid foundation of performance was rarely reached, so from the beginning of "Hero's True Colors", it soared into the sky.
Liang Chaowei met Wong Kar-wai and opened the most suitable mode of drama for him.
Leung Ka Fai's first play was led by the big director Li Hanxiang, and his example does not need to be told more.
So in this regard, the first ten years of the song god's film path actually only laid a relatively good foundation for his acting career, just like the sword embryo has just taken shape, it still needs to be polished, quenched and opened, which is a long process.
But he announced his retirement at the time when he needed the experience the most and threw himself into the music scene, which was a particularly bad choice.
Some people may say that people are gods of song, and the achievements of the music scene alone are enough for many people to envy.
Of course, that's true.
But not long ago, he talked to fans of the god of songs, and he said that he envied Aaron Kwok's fans because he could often see his film works.
The reason is simple, simple and true.
If you take the four kings as far as the four kings are concerned, the fans of Aaron Kwok and Andy Lau are indeed relatively lucky.
The two are both leaders of the Hong Kong film and video era, each with many works to be screened, and have been shooting new films.
Even if you don't consider the box office, popularity and other appearance factors, you continue to have new works to enjoy, which is the biggest gospel for fans.
What's more, the two Heavenly Kings often made earth-shattering moves.
Hong Kong's annual crown and record-breaking, the mainland box office alternately won the Hong Kong film championship, each with three works that broke the billion box office.
The next new record, there is a high probability that it will come from one of the two.
Since 2015, when he starred in "Equator" and lost the 2016 Golden Statue Competition and participated in "Macau Storm 3", there has been no news of any movies.
And he's not without ambition in movies.
In 2001, Jacky Cheung took over the filming of Xu Anhua's film "Man Forty" and announced his comeback.
This film is also considered by many people to be the closest to the Golden Statue Film Emperor, but in the end it lost to Stephen Chow of "Shaolin Football" at the 21st Golden Statue, and only took an Indian International Film Festival Film Emperor, although it also belongs to the International A Film Festival, but it does not have the top and authority of the Cannes, Venice and Berlin Film Festivals.
So it's a pity.
Later, he was nominated for five golden horses and golden statues for three films, "Golden Rooster 2", "Full Moon Hennessy" and "Dark Heaven", but all of them were also feathered.
Most people may attribute it to bad luck, and even say that he is the relic of the Golden Emperor.
Luck naturally has an element, you act well, others are better than you, this is luck, but five nominations are luck?
Under the supervision of Xu Anhua, the introvertedness of "Man Forty" is still in order, "Golden Rooster 2" returns to the means of the nineties, "Moon Full Hennessy" is mediocre, and "Dark Heaven" is overheated and unprepared.
In particular, 2015's "Equator" announced the ultimate rout of Jacky Cheung's comeback journey.
A character who is elegant, city government and belly black, fierce and spicy, is shaped by the god of song to be in and out of control, failing to explode when it should be forced, impatient and adventurous when it should converge, and the surprise of the glimpse at the end of the film is like the elegy of its performance in the nineties, which is worth a sentence of "hurting Zhongyong".
The reason is what was mentioned above, that is, the performance experience has not really been integrated, and the lack of force field performance.
Therefore, it is difficult to become the big picture.
And with its early qualification performance.
Although Jacky Cheung may not be able to call God in the film industry, if he is painstakingly tempered, he will certainly be a strong and powerful person who divides one side.
Just look at the "Equator" café position to know.
After the comeback, there are very few films, but it is easy to suppress Zhang Jiahui, who has three movie emperors in hand.
However, in the end, he failed to capture one of the three Golden Shadow Emperors.
You can only retire lonely.