Preach in words. - Don Tears
Du Qifeng is very famous.
The Galactic Image created by it is almost one of the most prominent labels in the Hong Kong film industry.
Known for its fatalistic, suspenseful and Kit Kat layout style.
But all Hong Kong film fans can generally say the names of several works casually.
And before the style takes shape.
There are three films in five years, which can be called the tragic trilogy.
It is worth listing separately.
The first was "The Story of Alang", released in 1989.
The co-actors are Zhou Runfa and Zhang Aijia.
Before this film, Du Qifeng had filmed different genres such as martial arts, comedies, ghost films, etc., and also directed "The Legend of the Eagle Hero".
Take "The Legend of the Eagle Shooter", in addition to Huang Rihua and Weng Meiling, Miao Qiaowei, Zeng Jiang, Liu Dan and other outstanding actors, Du Qifeng is indeed indispensable, but also extraordinary ability.
This "The Story of Ah Lang" can be regarded as a kind of preliminary exploration of Du Qifeng's expression of fate.
When he was young, Ah Lang was a typical prodigal son, and he was full of shortcomings.
Girlfriend Bobo has a deep affection for him, but because of his ruthlessness and unruliness, he is injured and physically and mentally exhausted, thinking that the child died prematurely, Bobo went to another country, and Ah Lang, who was released from prison, brought back his son from the orphanage and drove a truck for a living.
It's been ten years since we met again.
In order to save the feelings of the past, Ah Lang Prodigal Son turned back and expressed remorse to Bo Bo, but Bo Bo could not forgive the past, the two were about to leave after a short reunion, but Bo Bo made a request to take his son away, and Ah Lang drove his son away because of his guilt for Bo Bo and for his son to have a better future.
Ah Lang decided to go out of the mountain and return to his old career in racing.
And the son does not give up his father, Bobo is also difficult to give up the family affection, before the start of the game, the family reunion.
In the end, Alang relapsed due to an old injury, collapsed in front of the end of the track, and was subsequently engulfed by the fire.
Zhou Runfa's control over the character is precise and meticulous.
The youthful frivolity, the prodigal son's uninhibitedness, the love of the prodigal son and the return of the prodigal son, especially the warmth of the father-son affection and the determination to save the love, are moving, Alang's life, and the ending of the racing car, the distance away, but it is doomed to the fate of sadness, never to be seen again.
He also used this movie to defeat Gao Jin in "God of Gamblers" and won his third Academy Award.
At the peak of the fa brother, it is indeed very inexplicable.
The second part is "Supreme Supreme II" in 1991.
The film bears the name of Wang Jing's work "Supreme Supreme", but in addition to continuing to star in Andy Lau, the two films do not have any real continuation and connection.
The story is actually quite clichéd, nothing more than gamblers, gambling, brotherhood and vendetta.
But under the right and evil, first there was Asia's first fast hand Qiu Jie returned from prison, facing the unbearable pain of his young daughter being bound by chains, and then there were chicken wings watching his girlfriend die tragically in front of his eyes, that song "The Days We Walked Together" was simply too sad to put here.
At the end of the film, Qiu Jie was shot and forced to get on the car, and his handling method was borrowed by Qiu Litao a few years later, a play "The Great Storm of Hongxingzai's Rivers and Lakes", at the end of the film, Hong Fei, who was stabbed several times in his body, forced to see his girlfriend Ah Tong's last side of the scene, which was sad and inexplicable.
Andy Lau, along with Wu Qianlian, Wang Jie and Chen Farong, all performed extremely well.
In addition, the first two parts of the "Tianruo Love" series, directed by Chen Musheng and supervised by Du Qifeng, are very similar to "The Story of Ah Lang" and this "Supreme Supreme II. Eternal Domination of the World", the male protagonist Hua Di and Ah Fu both ended in death, and their tragic style is almost the same, and another very interesting thing is the English name of Wu Qianlian's character, which is called JOJO in "Tianruo Love" and "Urban Love".
In those years, Wu Qianlian was really popular in the Hong Kong film industry.
The third is 1993's "Barefoot Kid."
After filming this work, Du Qifeng began to officially turn to the jianghu, gangster and dark, Kit Kat style.
This time jump back from modern times to guwujianghu.
The lineup is also quite strong, with Aaron Kwok, Maggie Cheung, Dillon and Wu Qianlian, as well as Zeng Jiang and Qin Pei, two old drama bones to support the scene.
Guan Fengyao, who had been poor since childhood, went to the provincial city to join his father's former friend Duan Qingyun, coinciding with kahebu's "Tianlongfang" attempting to annex Bai Xiaojun's "four seasons weaving", but then because he did not know the dangers of the rivers and lakes, he was snared by Kahebu, and since then he has gone astray, and then after the tragic death of his friend's father and Duan Qingyun, he suddenly woke up and fought a decisive battle with Kahebu and his henchmen.
The actors are very strong.
Aaron Kwok shows Guan Fengyao's pure and virtuous disposition to the fullest, Maggie Cheung and Dillon are calm, Wu Qianlian is eccentric, Duan Qingyun's "dying art" is a drama, and Guan Fengyao's conspiracy and change in pursuing and killing Kahebu are also heart-wrenching.
Guan Fengyao, who was finally nailed to the porch by an iron fork, angrily killed Kahebu, and then struggled to wear the cloth shoe without success, and the ending song "Leaving a Face with a Full Stop" sounded at the right time further strengthened the rendering of the tragic mood.
This long mirror performance, from the change of eyes, to the cooperation of micro-expressions and body language, is completed without any hindrance.
That's all there is to it.
The kind of statement that "the early Aaron Kwok had no acting skills" seems to have an inexplicable origin.
This film should be a molding of Du Qifeng's personal style.
Du Qifeng in the past was indeed very strong.
There are many classic works, and the ability to adjust the actor's performance can also be described as extremely strong.
But with the decline of Hong Kong films.
Whether it is the Galactic Reflection or Du Qifeng, it seems that they have lost the light they once had.
Especially after Drug War.
Creativity has been drastically reduced.