"Fury And Serious Cases" starring Zhen Zidan and Nicholas Tse was finally released, and the wonderful action scenes and compact film rhythm made this film get good reviews. The rating level of 7.8 points also reflects the audience's attitude towards this work to a certain extent.
As the last film work directed by Chen Musheng, this "Fury Case" can always give people a strong sense of déjà vu in the design of the lens section.
At the beginning of the movie, a shootout broke out between the two sides of the police and bandits, and the "police" were trapped and tortured by the bandits. The emergence of this plot, I don't know how many fans dream back to Director Chen's "New Police Story".
With the further development of the story, "Zhang Chongbang" starring Zhen Zidan and "Qiu Gangao" starring Nicholas Tse began to become the focus of the camera. The two were originally good brothers born into death, but because of a choice made by Zhang Chongbang, Qiu Gang'ao's life took a huge turn, from a "policeman" to a "bandit".
This plot, I don't know how many fans, recalled 2013's "Sweeping Drugs".
And when the sentence "Who bothers everyone tonight, Jesus I don't give face" in "Anger And Serious Case" came out, it is estimated that most fans' minds involuntarily flashed, Zhang Jiahui's classic line.
Of course, in addition to these highly recognizable shots and lines, Zhen Zidan's "jumping out of the car to save children" and "being targeted by his boss to sit on a cold bench" also reminds people of Director Chen Musheng's early years of "Baby Plan" and "Stormtrooper's Fury Street".
All of Chen Musheng's film works seem to have been condensed into this "Anger and Serious Case". And this work also accurately summarizes the film life of director Chen Musheng.
In the early 1980s, Chen Musheng joined TVB. At the beginning, like Du Qifeng, he studied the shooting and production of film and television works with director Wang Tianlin.
After that, Du Qifeng got the opportunity to independently direct television works, and Chen Musheng also became Du Qifeng's deputy, engaged in the behind-the-scenes choreography of the TV station.
It is worth mentioning that in the early years, Du Qifeng and Lin Lingdong studied together under Wang Tianlin's door. In the mid-1980s, Lin Lingdong got the opportunity to shoot classic works such as "Yin and Yang Mistake", "Best Partner 4", "Prison Storm", "Dragon and Tiger Storm" for "New Art City".
After becoming famous in the film industry, Lin Lingdong did not forget to help his old friend Du Qifeng. In 1987, under the introduction of Lin Lingdong, Du Qifeng entered the "New Art City" and filmed "Eight Stars annunciation" as a director. As Du Qifeng's deputy, Chen Musheng also ventured into the film industry this year, and participated in the filming of "Killing Love" as an assistant director.
After the release of "Eight Stars annunciation", he defeated Jackie Chan's "Police Story Sequel" and sat on the throne of box office champion, and Du Qifeng became famous because of this. And 1989's "The Story of Ah Lang" stabilized Du Qifeng's position above the Hong Kong film market.
After becoming famous in the film industry, Du Qifeng did not forget to promote his deputy Chen Musheng.
In 1990, director Wang Tianlin announced his retirement in order to commemorate the light and shadow years of Director Wang. Wang Jing, the son of Wang Dao, and two of Wang Dao's students, Lin Lingdong and Du Qifeng, joined forces to prepare the movie "Heavenly Love".
In this work, Wang Jing and Lin Lingdong served as planners, and Du Qifeng served as executive producers. Chen Musheng also became the director of this film under the recommendation of Du Qifeng.
After the release of "Heavenly Love", word of mouth and box office were good. Chen Musheng, who is under the "Stars Holding the Moon", also officially launched his own director's name.
After the fame of "Heavenly Love", Chen Musheng began to explore his own film style. After experiencing the attempts of several works such as "Belt Hong Wolf", "New Crane Divine Needle", "Happy Hour" and so on.
In 1996, Chen Musheng finally established his own film style with a film called "Stormtrooper's Fury Street".
In "The Streets of Rage of the Stormtroopers", Chen Musheng borrowed from Wu Yusen's "double male action film" style, but at the same time as the "double male duel", Chen Dao upgraded the story to "a duel between two teams of people and horses".
The increase in the number of characters in the field makes the content of "Stormtrooper's Fury Street" very rich and constantly reversed. In the presentation of the story, Director Chen chose to "show the characters with delicate lenses and express the plot in a simple way". The portrayal of the character's personality is laid out in an orderly and extremely meticulous manner, while the development of the plot story does not pay much attention to the treatment of logical details, mainly relying on one tightly paced action scene after another, advancing layer by layer.
This "Stormtrooper's Fury Street" not only established Chen Musheng's film style, but also created a career turning point for Chen Musheng. After the film, Director Chen was recruited by "Jiahe" to shoot "Who Am I" for Jackie Chan.
"Who Am I" is obviously a compromise between "Jackie Chan's film style" and "Chen Musheng's film style".
The comic section of the film is full of the taste of Jackie Chan's movies, such as the comic strips of laughter and uninhibited comedy, the thrilling action scenes of picking up helicopters and jumping off buildings, and the delicate portrayal of character emotions, driven by action scenes, and the compact and orderly story rhythm are full of the characteristics of Chen Musheng's films.
After "Who Am I", Chen Musheng, with the help of Jackie Chan, came to invest and shoot "SWAT New Human". In this work, Chen Musheng continued the shooting style of "Stormtrooper's Fury Street", focusing the camera on the duel between two teams of people and horses, one good and one evil.
After the release of "SWAT New Human", although it achieved good box office results, the reputation of the work was very general. There are too many characters in the scene, which makes the plot of the movie seem a little messy. Director Chen Musheng pays attention to the action scenes and despises the shooting style of the story details, which also greatly reduces the presentation effect of "SWAT New Human".
After "SWAT New Human", Director Chen began to try to simplify his film work. In 2003, he filmed the film "Two Males". In this movie, Chen Musheng weakened the "two teams of police and bandits" into three roles of "two police and one bandit". With the reduction of the number of characters in the scene, the plot performance has become clear and clear.
After "Double Male", Chen Musheng filmed "New Police Story" for Jackie Chan. In this film work, Chen Musheng continued the character design style of "two police and one bandit" in "Two Heroes". The three-protagonist style of "Chen's Three Male Films" has also taken shape in "New Police Story".
After "New Police Story", Chen Musheng independently filmed "Three Forks". In this film, Director Chen officially revealed the film creation characteristics of "Chen's Three Xiong Films". Three men, three stories, make up the entire film.
After "Three Forks", "Three Male Protagonists" became the standard for Chen Musheng's films. "Keep Talking", "Baby Plan", "Boy's True Colors", "Drug War", all of them are like this.
Under the polishing of one work after another, Chen Musheng's "three male films" have become more and more refined. And 2013's "Sweeping Drugs" has become the pinnacle of "Chen's Three Male Films".
After "Sweeping Poison", Chen Musheng's film creation fell into a bottleneck. In 2016, Director Chen jumped out of the shooting of "fashion police films" and created "Dangerous City" in the style of "three male films".
However, this "Dangerous City" made Director Chen suffer a double blow at the box office and word of mouth. Chen Musheng, who does not have "gun battle scenes" and "explosion scenes", is not the Chen Musheng recognized by the audience after all.
After "Dangerous City", director Chen Musheng, who was painfully thinking, returned to the shooting of "fashion police films". In this "Fury Case", Director Chen jumped out of the story mode of "Three Male Films" and tried to launch a new exploration of film creation in the style of "Two Male Duels".
Although the story structure has changed, in the performance of the plot section, we have seen many shadows of director Chen Musheng's past works. In addition to the film style, this "Fury Case" still adheres to director Chen's original work of "showing characters with delicate lenses and expressing the plot in a simple way".
The film gives enough creative space in the shaping of characters. The unfolding of the plot content relies on the compact action drama and is promoted step by step. As for the details of the story, I don't think too much about it, and I brush it over with a brief shot.
In 1996's "Stormtrooper's Fury Street", director Chen Musheng officially established his film style of "delicate characters and rough stories".
After years of career polishing, Director Chen finally ended his light and shadow years and police film style in this "Anger and Serious Case". Familiar shots and a strong atmosphere of action Hong Kong films have also made this "Fury Case" a director of Chen Musheng and a master in his film career.
It begins with "anger" and ends with "anger", which seems to have become the most perfect ending in the darkness.