Tang Nuo spent a lot of time talking about a martial arts novel in "The End", Sima Ziyan's "Golden Servant Aunt", and the content of the conversation was only a fragment, a painting competition.
The story goes like this:
Jin Pugu and Liu Riying compared the painting, Jin wanted to draw "Baimei Tu", Liu wanted to draw "Baixian Tu".
Liu Riying was skillful, and in less than half an hour, he completed a beautiful "Hundred Immortal Diagram" with embroidery.
On the other hand, Jin Pu Gu.
Slowly picked up the pen and scribbled twice.
And then there's the fun.
Liu Riying stretched out his hand to flip it over, but saw that only a semicircle was drawn on the white paper, and a few inkmarks like grass were drawn on the arc, and a large cross was drawn in the middle of the semicircle.
They watched for a long time.
Liu Riyingcai said, "Jin Gongzi, this is..."
Jin Pu smiled and said: "This is a freehand hundred beautiful pictures, strictly speaking, it is just a pile of soil and grass, crossed white bones and red tears..."
Liu Riying was dumbfounded.
As a result, Liu Riying tore up the embroidery on the spot and admitted defeat.
"Lack of gold buys paintings, and death leaves Qingzuka to make people snort", Tang Nuo explained with a poem by Li Bai: In front of Qingzuka Tu, no matter how beautiful the beauty fairy is, they all sigh in vain.
After all, having seen white bones, how can you be fascinated by those hues?
I suddenly realized that returning to my original intention was almost impossible for Stephen Chow.
After all, what Stephen Chow drew is actually a picture of Qingzuka.
It's also quite simple to explain.
Like, what is nonsense?
Formally, it is a rebellion against predecessors.
Before Stephen Chow, Hong Kong comedy was roughly divided and could have two peaks.
One is the Cantonese fragment era, Chu Yuan Wang Tianlin and even Zhang Ailing their world, the skin is all kinds of conflicts, generational, geographical, class, but the appeal is that everyone lives together with harmony, and the north and south are family.
The second is the rise of local culture in the seventies, Xu Guanwen brothers, scolding the capitalists, speaking for the bottom people while also promoting the spirit of the Lion Mountain, the so-called down-to-earth food.
Talk about enjoyment at a young age
Beware of causal cycles
If there is such an affair, it is necessary to suffer like this
Under the laughter and anger, there is always a search for a correct value.
And Stephen Chow?
One kick kicked away these high-sounding "positive energy".
For example.
In "The Lord of Destruction", how he ridicules those "good people and good deeds" education.
"Eliminating violence and safety is our responsibility as citizens, and doing good deeds and accumulating virtue is my own interest, so I do it once a week to help the old lady cross the road, and if it falls on a national holiday, I will do it two or three times."
In "Hundred Changeable Star Lord", how he ridiculed those values of his father's supremacy.
"Giving birth to me is a side effect! Aren't you enjoying the manufacturing process?"
In his story, the four great talents in folklore become hanging, serious state agents become self-righteous, negotiations are scolding each other, and masters will also straw bales, just like the end of "Ling Ling Qi":
I'm talking about my children's affairs
Let the small affairs of the state give way in advance
Like a naughty teenager who takes pleasure in tearing the mask of other people's tacit masks.
This is not to kill the teacher with a fist, but to show you the truth nakedly, so when people see the holes under the costume, and the bones after seeing the beauty, who can still receive that kind of sugar water education?
After the so-called Aozuka drawing, no one wanted to draw a hundred beautiful pictures anymore.
After Stephen Chow, traditional Hong Kong comedy died naturally.
There is barely one Du Qifeng, and he can only write from the field (white-collar class) that Stephen Chow has not set foot in.
Just after drawing the Aozuka drawing?
We all know that destruction can only be done once, and the Aozuka drawing can only be drawn once, and it is a genius who does this the first time, and if you continue to draw, you will pick up people's teeth.
After all, how many people want to see a more beautiful Aozuka picture?
So I had to blossom everywhere.
On the ruins of Hong Kong movies in those years, Stephen Chow was painted everywhere, school films, gambling films, martial arts films, sports films, spy movies, ghost movies, kung fu movies...
Until—there is no more target to rebel.
So over the years, the decline in the reputation of Stephen Chow's films, on the one hand, is the scale of co-productions, on the other hand, there is no lack of performance defects, but more importantly, in fact, it lacks the cornerstone of Hong Kong films accumulated in the golden age for a long time, and the fantasy theme is still watchable, but science fiction, sorry, there is no deep-rooted science fiction complex in the memory of Chinese audiences.
He actually tried other paths.
For example, draw yourself a picture of Aozuka, the "New King of Comedy".
It's just that in terms of film effects and audience acceptance, they are a big difference.
In the end, it's not that he doesn't work hard.
It's just that there is no way to work hard.
And this.
It is far from being solved with a "return to the original intention". (Crazy face punching)