Preach in words. - Don Tears
Let's start with a premise.
From the perspective of actor fans, of course, the probability is the strongest in their own home.
There is nothing wrong with the tendency, nor is it evaluated.
The thread comes from the comments section.
And it just so happens that this question is also quite interesting.
Hence the extension of the text.
Two movies.
The main creative lineup includes two newly emerging directors, three actors at the top of the Chinese film industry, and two giant Hong Kong film companies.
From this point of view, the two can be described as going hand in hand.
However, if you want to predict which one is the "strongest" double male movie.
You need to look for answers from history.
In a way, the world is always empirical.
When you see dark clouds pressing down on the top, you should have an umbrella.
When there are insects rushing by, you think of the possibility of a geological disaster.
When chess is played, when the head cannon is attacked, the soldier's horn cannon is defended, and the seven-star soldiers are sealed on the horse road.
And whether it's the film company, the director, the actor, the audience.
In fact, it is all very important.
It's nothing more than a choice, or a dump.
Back to the point.
The first is the investment company level.
The investor of the movie "When the Wind Rises Again" is Meiya Entertainment, and the investor of "Goldfinger" is Emperor Film.
The first investment is HK$200 million, and the second investment is HK$3.5 billion.
Two companies, one established and the other rookie.
Meiya rose in the era of dvds, mainly in the form of distribution and co-production, but has always been, its scale, the number of films and commercial achievements are not outstanding, once not satisfied with the production and distribution business, independent production of Wang Jing's "A Bad Bet Legend", as well as Galaxy Image's "PTU" and other movies, word of mouth is acceptable, but the market performance is ordinary.
In recent years, the main and more high-quality works are "The Thief of Time" and "Treading Blood and Finding Plums", which brought out two movie emperors and swept an Academy Award.
In terms of commercial films, he has released "Chibi (Part 1)" and co-produced "The Wind Listener" and "A Generation of Grandmasters".
And this "When the Wind Rises Again" or its first main commercial production.
More attention is paid to the reputation and quality of the film, and the commerciality is slightly weaker.
Emperor Films only began to make efforts in the film market after 2000.
The route is diametrically opposed to the word-of-mouth direction of the United States and Asia, almost all aimed at the commercial type.
Including "The Great Sage of Love", "Myth", "Baby Project", "Witness", "Informant", "King of Guns", "I Know the Woman's Heart", "New Shaolin Temple", "Peerless", "Fury : Serious Case" and a large number of Hong Kong commercial films.
He also participated in many mainland films such as "The Sun Also Rises", "Mei Lanfang", "Tangshan Earthquake", "Let the Bullets Fly" and "The Legend of the Demon Cat", "My Father and Me", "Chosin Lake" and so on.
Co-productions include "Operation Red Sea", "Riot Fighting", "Emergency Rescue", "On the Cliff" and "Crowded".
As far as pure Hong Kong films are concerned, there are commercial head works such as "Peerless" and "Fury Case" that broke through a billion, and there are also Waterloo works such as "Integrity Storm", which can only cover more than 100 million.
The list of films is not exhaustive, but it can be seen that it is super powerful in commercial films.
Neither director has sufficient qualifications.
Both only entered the film industry at the turn of the century, and at this time, Hong Kong cinema has begun to decline.
Zhuang Wenqiang, who specializes in commercial film screenwriters, became a hit in 2002 with "Infernal Affairs" co-written with Mak Siu-fai, and officially started his directing career in 2005 as a co-directing, and in 2010, he tried to fly solo with "Flying Sand Wind Transit", won the Hong Kong Film Awards New Director Award, and in 2018, he soared with "Peerless", winning 1.273 billion yuan at the box office in the mainland, sweeping the 38th Hong Kong Film Awards.
Since then, it has established the status of a new generation of Hong Kong acting leaders.
In contrast, Weng Ziguang is much more tortuous.
He entered the film industry in 1998 and after a series of assistant jobs, he turned to becoming a film critic.
In 2009, he wrote and directed his first feature film "Bright Time", nominated for the Hong Kong Film Awards for Best New Director, and in 2011, he created the screenplay "Blood and Plums", which won the "Hong Kong Asian Film Investment Association HAF" Award, planned to start filming but suffered withdrawal, three years later by the United States and Asia Investment, it officially started filming, sweeping the 35th Hong Kong Film Awards.
From the comparison of the respective resumes, or can also be concluded.
One focuses on business.
And the other is biased towards depth.
In terms of themes.
The movie "When the Wind Rises Again" focuses on the torrent of the times and the growth of the tyrant, covering the sky with one hand and collapsing buildings.
It was originally called "the most magnificent chapter in Hong Kong's wild history in thirty years".
With epic brushstrokes and majestic momentum as the background of the film.
The intent is to restore and deconstruct an era.
Hidden in this is not a small ambition.
Goldfinger, on the other hand, is more traditional and conservative.
The words "Hong Kong Strange Case" in its introduction actually explain the problem.
The high probability will be the number of roads close to the past Madon-hsiung.
More inclined to the realistic style of crime movies.
Commercial.
Finally, there is the cast.
What the two films have in common is that they all have Liang Chaowei included.
And these three actors can be called the "top" card face of the Hong Kong film industry.
The main creative groups are Aaron Kwok and Liang Chaowei of "When the Wind Rises Again", and Liang Chaowei and Andy Lau of "Goldfinger".
Among them, Aaron Kwok and Liang Chaowei are particularly biased towards texture and depth.
Niche literature and art do not mention, commercial representative works include "The Majesty of the Wind and Clouds Dominates the World", "Dark Flower" and "Infernal Affairs", "Cold War" and "Journey to the West: Sun Wukong Three Dozen White Bone Essence", "Peerless", both box office, word of mouth and performance are said to be superior.
Andy Lau's business attributes are more prominent.
His personal business representative works include "The Biography of Inspector Leiluo", "Dark War", "Letter of Submission", "Anti-Drug 2", "Bomb Disposal Expert 2".
The average box office ability is relatively strong.
Synthesize the analysis of the above four levels.
Or conclusive.
Meiya joined hands with Weng Ziguang, and Aaron Kwok joined Liang Chaowei.
Such a lineup.
It can be called the ceiling of the quality level of Hong Kong films.
Aaron Kwok's commercial production performance over the years is enough to escort the film box office.
The Emperor and Zhuang Wenqiang, Liang Chaowei met Andy Lau again.
It is also the top configuration of the Hong Kong film industry, especially "Emperor + Andy Lau", and the advantages of the commercial level are more significant.
And if you ask which one is "stronger"?
The box office is difficult to predict.
But the overall performance of "When the Wind Rises Again" may be slightly better.