Starting from 1986's "The True Colors of Heroes", Wu Yusen laid down a directorial style of violent aesthetics, and went to Hollywood to develop in 1993, during which Time Wu Yusen did not shoot many works. Although there are only six fragments, they give him a special place in the history of Hong Kong cinema. Even in the history of world cinema, it has a good performance. The aesthetics of violence advocated by Quentin, which we are familiar with, are derived from the works of Wu Yusen, who once observed in the video hall. The gunfight action film pioneered by the later film field is also the original creation of this Hong Kong director, and it has to be said that he is a filmmaker who has opened up the era and deserves the respect and respect of our future generations.
Before going to Hollywood, Wu Yusen was not prolific, but each of his works has a deep personal imprint and maximizes his characteristics to the peak. Later, when he returned to Hong Kong, he was a little weak. So many times, when we talk about Wu Yusen, we only talk about works from before 1993. Those are the essence.
In 1992, a year before Wu Yusen went to Hollywood, he filmed a masterpiece of his own violent aesthetic series" "Hot Hand Detective", which not only played the gunfight action film to the peak, but also had works that inherited the past and the future, and even the supporting roles in the film were among the best big people. Therefore, in a certain sense, this film is Wu Yusen's last work before the development of Hollywood, and it is also the masterpiece under the entire violent aesthetic system. Since then, Hong Kong cinema has opened a new era, but this era has no longer had wu Yusen's unique figure.
"Hot Hand Detective" is a typical Wu Yusen work, in addition to the inherent gun battle action film elements, the integration of brotherhood, undercover police and life and death contrasts and other labels, these elements have not been so concentrated later, for the previous "Blood Two Males", this film has done a good inheritance, for the later "Infernal Affairs" this film has done a good inspiration. At least before, few Hong Kong movies can fully explore the image of the undercover police, and in the later "Infernal Affairs", we can see too many figures in this film. I won't talk about it here.
"Hot Hand Detective" is starred by Zhou Runfa, and Liang Chaowei is the opponent actor of Fa Ge. This is a story between undercover police and police, Zhou Runfa played the police justice awe-inspiring, once in the tea house and the criminal gang fire fight accidentally injured his colleagues, which became a lingering pain in The brother's heart, since then he investigated the arms smuggling case, he has been holding his breath because of disagreement with his boss. Then he met Liang Chaowei, who was undercover in the gang. The two did not fight and did not know each other, and later joined forces for the same purpose, and finally fought with criminals in the hospital, and Liang Chaowei completely defeated the arms smuggling group at the cost of his own sacrifice.
This story is very simple, there is no chaotic twists and turns of the plot framework, and it is exactly in line with Wu Yusen's consistent screenwriting concept. As a director who advocates the aesthetics of violence, his obsession with action shootouts makes the plot even if it is very thin, without affecting the audience's perception at all. More than half of the film is given gunfight action scenes, especially the first scene, the gunfight on the tea house, there are almost no lines. It is said that this is a temporary increase in the scene, so it is too late to design the lines, and it is really powerful to grasp the hearts of the audience just by relying on action preemption and long shots.
In the end, the big gun battle in the hospital and the three-minute long shot were basically gone. Although strictly speaking, the theme of this scene is the indiscriminate killing of innocents, the contrast between the police and the bandits, the contrast between the infant and the dead, etc., all reflect the fragility and powerlessness of life, but we do not feel this way in the process of watching the movie. But then no one dared to try it again. In a sense, this film has become a masterpiece.
There are also a bunch of actors in the film, these people are the existence of big guys, but the degree of completion in this film is very good. Liang Chaowei drank Zhou Runfa naturally needless to say, Huang Qiusheng played the villain leader beyond the inherent face of the previous villain, Wu Yusen gave this character a solemn temperament, as well as Chen Xinjian's chief and Guan Haishan's gangster boss, most of these characters in Wu Yusen's story do not have a stereotype face. They give the impression of both good and evil. Decent police officers also have a bloodthirsty side, and villain killers also feel sympathy for innocent patients at the last moment.
Of course, this kind of not being completely evil does not wash away the faces of their villains in the film, but in the eyes of the audience, such a character setting is more warm. Of course, this is also a manifestation of Wu Yusen's violent aesthetics. The killer is ruthless, but has a heart.
In 1993, Wu Yusen landed in Hollywood, and after adapting for a while, he handed over the good answer sheets of "Change of Face" and "Mission Impossible 2", which also indicated that his breakthrough in Hollywood was successful. Until his return to Hong Kong from Hollywood in 2006, Hong Kong films at this time have long since ceased to be the glory of the past, and Wu Yusen's violent aesthetic has nowhere to be placed. After that, but we look back at an era, "Hot Hand Detective" became the final final sound.
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Hello and goodbye