Mobile Force PTU (2003) may not be the best of Du Qifeng's films, but it must be the one with the most prominent personal style. Revisit it again after 18 years and marvel at how magnificent the Hong Kong films of that era were.
The most prominent personal style means that the creator is more independent and self-directed in the creative process, so in a sense, I think it is also true to say that "the best one" is also true.
Cold, cool; minimalist, sharp; dark, humorous; absurd, deep; ironic, entertaining; maverick, just right. The greatest dramatic tension is that it seems to be seriously inquiring, but it is clear that it is a joke.
The most worth mentioning is that the omnipresent metaphor of the whole film, the winning view aftertaste, is very fascinating.
< h1 class="pgc-h-arrow-right" > give up. </h1>
If the whole film is a metaphor for the unspoken rules of society, then the concession plot at the beginning of the movie is a concentrated embodiment of the hierarchical contest between the upper and lower strengths. Diners give way to ponytail, ponytail gives way to fat sand, which is a tacit understanding of people naturally formed by people in social reality, but tacit understanding is also broken, because of a coincidence and accident, a little out of control, and eventually evolved into a large street shooting incident under the night of the city.
The performance of ponytail and fat sand let us know: out of the mix, low-key is king. Because you don't know which of the ants that seem to be trampled under your feet is just the most obedient majority, and which one is just a rebel faction that has been plotting to kill for a long time.
And the so-called who is strong and who is weak is not determined by the size of the call in the restaurant, the praying mantis catches cicadas, the yellow finches are behind, and until the end, you never know which side of the ending is inclined.
The seemingly casual triangular composition is a metaphor for the three-legged opposition under the unspoken rules of society.
<h1 class="pgc-h-arrow-right" > banana peel. </h1>
At first, Fat Sand fell to the ground because of a banana peel and lost it; in the end, because of this banana peel, it fell down again in the same place and found the robbery.
It sounds like a joke, or the director is too good at making up stories. This banana peel is a reversal echo of the black humor created by the whole film. Life is like a drama, like a big drama, always with thrilling and gripping crises, but when you try your best and even try it yourself, you finally find that it is really just a joke.
We seem to imagine that the night of Fat Sha and a group of brothers chasing after their lives is likely to be a world storm caused by God's amusement in heaven and throwing a banana peel at will.
You almost lost your life in order to lose your promotion, and you are so funny because you are just an ant.
From beginning to end, a lost soul is like a fat sand that sleepwalks, living is funny, and if it slips, it may kill you.
<h1 class = "pgc-h-arrow-right" > night play. </h1>
90 minutes long, 12 hours of story, before and after shooting for 3 years of night scenes - all night scenes. Can't imagine a movie cooler than that.
So what is the idea of the night? Night may be a hidden area in everyone's heart, night can let us relax and breathe freely, night encourages us to show all the thoughts and attempts of those who do not want to see people during the day. At four o'clock in the morning, the city was empty, there were no witnesses, no onlookers, no public knowledge and public opinion, only the most naked contest between man and man.
Lots of long shots, extremely elongated spaces; the positions of the characters, the highlights and dark sides are extremely elaborate. The night is actually a huge stage, the magnesium light moves, and one character after another appears. All the characters, props, and things that happen will be controlled by the setting of the lights, the moving line, and the script. The director is sitting on the console, playing with an action to control this human farce that teases you.
Ren Dahua came from under the confused street lamp: "Wearing this dress is your own person, how will outsiders look at us." ”
<h1 class= "pgc-h-arrow-right" > little boy riding a bicycle. </h1>
Under the dim street lights, in the shade of the long trees, at the empty intersection, the little boy rode his bicycle carelessly through, he did whatever he wanted, wreaked havoc, did something, and accidentally panicked the people trapped in the storybook. He is like a strange symbol, making the impeccable set on the stage easily wear the gang, and letting all the ulterior secrets be confessed to the world.
Seemingly naïve, often hiding the deepest dangers; absurd existence without a reason is the relentless mockery of all reasonable existence. Or maybe he is another self in each of our hearts, the transcendent self that is high above.
When you struggle desperately in the impermanence of fate, he smiles in a dark corner, then pedals and disappears into the night like a ghost. He said, don't fight, no matter how hard you try, you can't break free from the mercy of fate.
The little boy riding the bicycle makes the night scene add a touch of weirdness and horror, and is more full of drama and ridicule.
< h1 class= "pgc-h-arrow-right" > mist and white gunfire. </h1>
The back alleys of the buildings full of garbage, the corners of the food stalls, the dark tail stairways, the intersection with Jay Chou concert posters, the Canton Road in front of the bikini Juyin big name... All the spaces and scenes are filled with a lingering mist under the night. When the forces of the six parties finally converge in Guangdong Province, Fei Sha, Ah Zhan, Qi Jie, Serious Crime Group, Bald Head and Big Eye, smuggling bandits, they use their fate to kill, in different ways, stage a scene of superhero shock debut, Fat Sha holding his head and howling, scared into hiding in the car Madam, Raising a gun to strafe A Zhan and Qi Jie, facing the bald head and big eyes, and a group of bandits who do not know what to do under the gun... The guns fired by each of them burst out countless white smokes, and the mist that blended into the night in an instant, like the embellishment of fate, struggled wildly in the moment of the highlight, and finally extinguished.
Long shots coldly record the face-to-head confrontation of bald heads and big eyes, full of psychedelic and charming fatalism.
< h1 class="pgc-h-arrow-right" > two endings. </h1>
"Chinese Mainland Edition"
Fatty Sand: Shoot two shots sir, report a little better, and reward.
Then Zhang picked up the gun and fired two shots.
The movie ends.
「Cantonese Hong Kong Edition」
Brother Zhan: I am the Sheriff, No. 7366, Ho Man Chan. The second squad of Company B of the Police Mobile Unit is currently stationed.
Deputy Zhang: I am the female detective inspector, No. 56472, Zhang Lijun. He is currently stationed in the Major Crimes Unit of Kowloon Headquarters.
Fatsa: I'm Detective Sheriff, No. 7647, Lusha. It is currently stationed in the Tsim Sha Tsui Police District Anti-Mafia Second Team.
Deputy Zhang: On Friday, September 15, 2000, when I was investigating a murder case that had occurred earlier in that day...
Brother Zhan: At about 4:00 a.m., when I was passing through Canton Road with the first group of police officers, I met 4 Chinese men with suspicious appearances, so I went forward to intercept them. They suddenly resisted and shot at us.
Fei Sha: When I was off work, I was passing through Guangdong Road and encountered a gunfight between police and bandits...
Deputy Zhang: So I participated in the assistance and fired two shots.
Fei Sha: At that time, one of the gunmen escaped, and I chased it to the back alley of the Liqun Building. The drinking order was ineffective, the gangster pointed a gun at me, and I was forced to return fire and fired two shots at him.
Zhan Ge: As a result, all 4 Chinese men were killed.
The impermanence of fate, the point is the best expression;
Man-made in the impermanence of fate, why not add a dose of ruthlessness and ridicule?
Between insisting on self and proper compromise, the cunning Lao Du cut two kinds of meanings in one stroke;
However, the contrast between the two endings may be the best metaphor for this era.