"The world is out of my generation, and once I enter the rivers and lakes, I am urged." In the talk and laughter of huangtu hegemony, it is better to be drunk in life" The jianghu has always been the most attractive and at the same time the most powerless place, the talk and laughter in the jianghu is fascinating, but no one who really steps into the jianghu can retreat completely. "Kowloon Ice Room" and "Goodbye Ah Lang" The two most classic films in Hong Kong movies about the return of the prodigal son, whether you are scenery or decline, Zheng Yijian and Liu Qingyun told us with practical actions, the jianghu is actually far less exciting than you think.
Kowloon Ice Room VS International Hotel
The Kowloon Ice Room and the International Hotel are the most important story locations in the two movies, of which the Kowloon Ice Room is the place where Zheng Yijian stayed after returning from prison in Thailand, which was opened for him by his old partner Lin Xue, Zheng Yijian only wanted to return to calm here as a simple waiter, but the Kowloon Ice Room was doomed to not be peaceful because of his arrival; the International Hotel was liu Qingyun's temporary place after coming out of prison, and he only planned to live temporarily but unfortunately had a long-term relationship with the owner Huang Zhuoling. Both locations have very special meanings for both protagonists: the prodigal son will turn back, the swallow will nest, and the first thing they need when they return to society is a home. For Zheng Yijian, the Kowloon Ice Room is his paradise, although the rivers and lakes are close here, but he has made a determination to stay away from the rivers and lakes; for Liu Qingyun, the International Hotel is his haven, he has lived in countless luxury hotels in his life, but only this most broken hotel has given him the warmth of home.
Brother Dragon vs Big Brother
Zheng Yijian and Liu Qingyun have very similar character backgrounds and diametrically opposed character fates in "Kowloon Ice Room" and "Goodbye Ah Lang": both were once the hottest gangsters on the road, but they were also betrayed and imprisoned by their own people, but after they were released from prison, the two encounters were diametrically opposite. Zheng Yijian is like a fierce tiger returning to the mountain, all the people are eagerly waiting for Brother Long to regroup and make a comeback, but Zheng Yijian has no intention of asking the jianghu and only wants to sell 10,000 tomato beef noodles with peace of mind; Liu Qingyun's return is a time-shifting, he alone waved the flag and shouted but no one really responded, and he could only helplessly eat a bowl of instant noodles cooked by others. Although the two have different encounters, the soul of the character is the same: no matter how the outside world always maintains a domineering spirit of giving up on others: Zheng Yijian is lame and still has long hair fluttering, and he does not want to be the boss of thousands of people calling him useless; Liu Qingyun's leather jacket has thick eyebrows, and no little brother around him still rampages to be his toughest big brother.
The Death of the Nine-Veined Dragon VS The Life of Zhang Donglang
The theme of "Kowloon Ice Room" and "Goodbye Alang" have two completely opposite endings. Zheng Yijian, who wanted to quit the jianghu, finally died at the hands of the nobody, while Liu Qingyun, who had always wanted to regroup, survived to the end. This has nothing to do with the screenwriters of the two films, but the inevitable result of the development of Hong Kong films: before the Kowloon Ice Room, Zheng Yijian had made too many "Ancient Puzzle Boy" movies, and he recognized the adverse impact of such movies on society, so he needed a movie to end his career as a fool, so there was the nine-striped dragon in "Kowloon Ice Room"; before "Goodbye Alang", Du Qifeng's galactic image shot too many dark ending movies "Dark Flower", "True Heart Hero", "Very Sudden" Waiting for people to be depressed for too long, they need to give people some new hope in the movie, so there is Zhang Donglang who is a new person in "Goodbye Ah Lang".
Zheng Yijian's jianghu vs Du Qifeng's jianghu
There are two rivers and lakes in Hong Kong movies: one is the jianghu that belongs to Zheng Yijian, the jianghu with the most sense of fatalism among the actors; the other is the jianghu that belongs to Du Qifeng, the jianghu with the most sense of mission in the director. In Zheng Yijian's jianghu, the sky is no bigger than a "righteousness" word. The entire "Ancient Puzzle Boy" series of movies are piling up his heavy love and righteousness dare to be a dare jianghu person, so in the later "Kowloon Ice Room", quitting the jianghu is a difficult thing for Zheng Yijian, after the nine-striped dragon, there is no Zheng Yijian's ancient puzzle boy in Hong Kong, but it has always had the legend of Zheng Yijian; Du Qifeng's jianghu is completely different from Zheng Yijian's jianghu, and the deepest in Du Qifeng's jianghu is not the heart, from "Dark Flower", "Dark War" to "Gunfire" Du Qifeng has been exploring what the so-called jianghu is. Of course, the jianghu is full of fame and fortune, love and righteousness. But when these fame and profit, love and righteousness all fade away, what is left in the jianghu, where is the home of the human heart, this is what Du Qifeng has been thinking about in the movie, so Liu Qingyun in "The Story of Ah Lang" is more like a self-redemption, and everything has nothing to do with the jianghu.
"People are more than the sea sand, no need to worry more, the king can see the sunset in the sky, the name interest seems to be atomized" The prodigal son does not change the gold, and the best rivers and lakes are always outside the rivers and lakes.