This article is written by Grand Duke Peter Pavlovsk of Habsburg
As a result of "Fighting The Snake", Mou Dunfu was knocked down by The Shaw high-level to tell him not to step on the boundary clouds.
Shao's beating did not know whether it was a false rumor, but Mou Dunfu did leave Shao and went it alone.
The last Shaw movie before going it alone was "Big and Small Family Spring", executive producer Fang Yihua, I didn't watch it, because I couldn't find it, I didn't evaluate it.
After that, it was 1983's "Heroes from Ancient Times to Teenagers". It is jointly produced by the leftist film company Blue Bird Film Production Company and Emei Film Studio.
This should be the childhood memories of many post-80s movie fans. A very orthodox martial arts film, the only innovation is that the protagonist is a child. There was also a little fart child who had a bad taste point of the wife of the young child's adoptive daughter-in-law, which impressed me when I was young at that time.
It seems that from this moment on, Mou Dunfu began to come into contact with children, and this element became an important label for the "Black Sun" series that followed it.
In the 1980s, the forms of struggle around the world began to slow down, the honeymoon period between China and the United States began, and the exchanges between China and Hong Kong became more frequent, especially the Leftist film industry in Hong Kong began to go north, making many movies that now seem strange. The uneven quality is the biggest label of the Chinese-Hong Kong co-productions during this period, and another special label is dubbing, when the people of the whole country have become accustomed to the unique dubbing voice of the translation factory for foreigners, and as a result, almost all the films made by these Cantonese-speaking Hong Kong people have been arranged with dubbing voices. The reason for this is probably that most of these films are prepared by Hong Kong film companies to take back to the Hong Kong market for gold after filming, so most of the original production is in Cantonese, and the domestic copyright holders can only re-dub and distribute. This made it very uncomfortable for us, who were already accustomed to "Princess Xixi" at that time, to see a Chinese big girl full of drama lines.
In my childhood impression, this kind of film is more famous, in addition to "Heroes from Ancient Times out of Youth" and "The Thief of Change" jointly produced by Shanghai Film Studio and Yindu Agency, because it is produced in Shanghai, the dubbing is from the translation factory, and the lineup is super luxurious.
There is also a "Invincible Mandarin Duck Leg", which should be a co-production in the impression. Stylistically, it is also a co-production style, and I even found a shameful version of Hong Kong and Taiwan somewhere. However, Baidu Encyclopedia's last investigation was indeed filmed by beijing film studio alone. This is not clear.
In short, the cultural exchanges between Chinese and Hong Kong filmmakers during that period were very frequent. Blue Bird, Silver Capital and other leftist film companies mixed up.
Blue Bird Company used this time to shoot a fierce film on Hainan Island in the mainland, which is also Andy Lau's debut work, "Run to the Fury Sea".
Director Xu Anhua, the last of Xu Anhua's "Vietnam Trilogy", starring Lin Zixiang, Miao Qianren, Ma Sichen, Andy Lau, etc., was released on October 13, 1982, and the Hong Kong box office was 15.47 million Hong Kong dollars, ranking fifth in the total box office of the year. He won five awards at the 2nd Hong Kong Film Awards: Best Film, Best Director, Best Screenplay (Qiu Dai Anping), Best Art Direction (Au Ding Ping) and Best Newcomer (Ma Sichen). In 2005, he was selected as the eighth place in the "100 Best Chinese Films" event held in Hong Kong.
Awesome! This is not The work of Mou Dunfu, there is not much to say here, everyone is interested in finding a look, feel the ideology of the film, and then sigh the madness and enlightenment of that era.
But I'm going to explain why I talk about it, and that particular era, because before I start Black Sun, I have to understand this period of leftist history and the inner feelings of leftist filmmakers.
We said in detail in the second issue that the birth of the tertiary system of Hong Kong films was actually made for the release of adult films, in order to loosen the binding, not to tie it tighter. Leftist filmmakers like Mou Dunfu have a strong desire to express their political demands, which can be seen in the banning of the first two works in Taiwan during the White Terror. In the environment of the general scrutiny of the capitalist world at that time, some rather extreme ideological trends inevitably appeared in the left-leaning ideological trends in the cultural circles, which illusioned their own political ideological trends or relied on a certain radical affair, and then carried out extreme artistic expressions to stimulate people's eyeballs and thus achieve the purpose of propaganda. On the one hand, this practice pleases and caters to the curiosity of some people, but also hides its own true propaganda.
Let's take an example of height and low to describe this phenomenon. That is the Soviet film master Tarkovsky's Andrei Rublev, a devout believer. In the socialist Soviet Union how to represent a religious crucifixion through film. Tarkovsky did just that. It first used nationalism, selected the history of the Golden Horde's invasion of Russia, and deeply integrated the suffering of Russia's own people with the suffering of the religious level, and then filmed and released. Thus a film about religious suffering was born under the guise of depicting national suffering.
Tarkovsky is a master, and he can arrange these things without being obscene, but other directors are not so good at it. So we see the fruit body in Bertolucci's "Dream of Paris", and many leftist directors and even artists such as painters have similar experiences of fusion curves in this regard.
From here, think about Mu Dunfu's "Fighting Snakes", you can understand, what is hidden here? What do you want to highlight? And why is it excessive, the violence of exploitation is excessive.
Indeed, in "Fight the Snake", the depiction of violence is somewhat exaggerated. To say that these things are real is really more chilling than the movie, and some of it is unconvincing. Because the intention is different. This is also the biggest difference between "120 Days of Salo Sodom" and "Fighting Snakes". As a simple example, there was a car accident on the street, and the leg of a young man was directly crushed. It's a real thing, but do you need to portray it so vividly in a movie? Do you need to give so many close-ups and record such long wailing and screaming? At this time, you explain that this is real, and even the real scene is much more tragic than this, is it not very convincing? This is the conclusion of Hong Kong citizens, the truth is one thing, but it is another thing for you to shoot like this. Just a car accident, is there one that must be? Is that the difference in intent?
Mou Dunfu understood this truth, and he has been paying attention to this problem since then, and it is one thing to pin the political ideals of the left on the description of the cult. But to truly express history, we must be serious.
This seriousness is five years.