Preach in words. - Don Tears
Even Andy Lau's fans may not dare to say that Andy Lau's acting skills will be better than Leung's.
But at the same time, I have seen some people say before, for example, in 1993's "The Thirty-Six Plans of the Supreme Being", what is the difference between Andy Lau and Leung Ka-fai?
This questioning is normal.
Put aside the problem of and The convergence of Andy Lau's means of shaping characters.
In terms of this movie alone, Leung Ka Fai does not actually appear to be more intelligent than Andy Lau.
If you only talk about funny, compared to Leung Ka Fai's deliberate ploy, the cameo Chen Baixiang is estimated to have more laughing fruit, he is simply a wild laughing star in Hong Kong films, and there are laughing fruits in a random line, "You see? Can you see how faceless I am? I'm Singapore's ninth poker prince, Mr Chan Smart."
Another more important question is why Andy Lau's methods of shaping characters tend to be consistent.
Many people may reflexively say that he is handsome.
This is actually a misreading, Andy Lau's original intention is not to be handsome, no actor will be so stubborn.
This question should be seen in conjunction with his shadow path.
Andy Lau, who debuted in 1981, has strong star luck.
The third play began to be the protagonist, and by the time this "Supreme Thirty-Six Plans to Steal the Day" is already the 75th film of the individual, even if the guest film is removed, this number is extremely impressive, averaging about seven a year.
Even if the speed of making movies in that era was extremely fast, most of them were entertainment fast food films, and this number can be said to be quite saturated.
Therefore, his performance is basically to go down according to the script, take the shape of the role, and there is no way to go deeper.
And the most efficient way is to star in ben.
In fact, from another point of view, most Hong Kong actors, such as Leung Chao-wai, Tsang Chi-wai, Wu Mengda and Wan Zi-liang and other large-ticket people, are all self-performed in commercial films, such as Leung Chao-wai's "Hero of Central", "Anti-Fighting Horse Horse", "Dragon Gambling on the Sacred Banner of Victory" and even later "Tokyo Raiders" and other genre films, the performances are the same, Zeng Zhiwei is even more absolute, whether you are commercial or literary or even absurd, never make any changes.
But why would Andy Lau be singled out?
Because Liang Chaowei, even in commercial films, may occasionally have tears in "Hot Hand Detective", or the stunning in-depth creation in "Infernal Affairs" later, Zeng Zhiwei seems to be unchanged but is particularly closely related to the plot characters.
Andy Lau has always been going down on an inertia, and rarely has changed, especially in the early and middle periods.
For an audience that only talks about entertainment, this is not a big problem.
However, if you consider the level and depth of the performance, it seems lackluster, after all, the creation of true depth requires great effort.
Looking back, as mentioned above, seven or more a year, it is clear how much effort a single work can put into.
This is Andy Lau's problem, which can also be understood as the impetuousness of the business era.
But things always fall apart.
Andy Lau's situation is also a gain and a loss, the disadvantage is that the performance is kidnapped by the commercial chariot, involuntary, but what you get is the strength of the commercial box office and the high popularity.
Because the audience is accustomed to watching such Andy Lau, the film manufacturer does not want you to change, and there is no more time for you to change.
Over time, this inertia seeps into the bones.
Even if you want to do deep creation, it is difficult to reverse it, and you will even be at a loss.
But as far as conventional commercial entertainment movies are concerned, Andy Lau is quite fluent and does not lose anyone, such as this "Supreme Thirty-Six Schemes of Stealing the Sky and Changing the Day".
Aaron Kwok, who was also the Four Heavenly Kings, took exactly the opposite route from him.
After receiving a bunch of commercial films in the early two or three years, he suddenly reduced production in 1994, and then took the boutique route, and began to devote himself to the polishing of acting skills in the mid-2000s, only receiving difficult scripts, and then improved more and more rapidly, spending about ten years to reach the top of the film acting school.
After the acting ability became stronger, it brought him such deep commercial production resources as "Cold War" and "Peerless", and the director's choice was based on the results of his acting performance, rather than some people thinking that he was lucky and bumped into a good script.
Therefore, most of Andy Lau's masterpieces are biased towards business, and Aaron Kwok has both.
For example, Andy Lau's representative works include "Heavenly Love", "The Biography of Inspector Leiluo" and "Dark War" in the 1990s, "A Tiger", "Infernal Affairs", "Big Guy", "Jianghu" and "Disciple" in the 1990s, "Sister Peach" and "Chasing Dragons" in the 1910s, "Lost Lonely" and "Bomb Disposal Expert 2".
And Aaron Kwok's masterpieces, in the 1990s, there were "Barefoot Boy", "Romantic Storm", "The Mighty Wind and Cloud Dominate the World", in the 2000s there were "Judo Dragon and Tiger List", "Three Forks", "Father and Son" and "Murderer", and in the 1910s, there were "Favorite", "Floating City Years", "Cold War", "Blood In Search of Plums" and "Peerless".
For example, the two of them are not trying to score highs and lows, but to clarify Andy Lau's business route.
Compare the types of characters in the film at a glance.
Andy Lau's works are more than twice as many as Aaron Kwok's.
So as far as regular commercial entertainment is concerned.
If the problem of homogenization of Andy Lau's performance is removed, Leung Ka Fai and him are actually between Bo Zhong.
For example, the genre of "Dark War" and "Heavenly Love" replaces him with Leung Ka Fai, regardless of the charm of the appearance and temperament, that is, the performance alone may not be able to give more characteristics to the role.
But Liang Jiahui's performance of this level in "Black Gold" and "Cold War" is completely in-depth into a role, and I can be described as a change of birth, which is exactly Andy Lau's shortcomings and weaknesses.
That's the difference between the two actors.
In recent years, Andy Lau has also begun to try to go deeper in performances, such as "Sister Tao", "Rescue Mr. Wu" and "Lost Orphans".
However, as mentioned earlier, the impact of inertia over many years is very large, and the results are not ideal at present.
But at his age, he is still trying to change and break through, no matter what the result is, in fact, it is also worthy of respect.
After all, there is a saying called art endless.