In other words, in the later stage, Leslie Cheung acted very carefully and attentively.
In the "Farewell My Concubine" movie, when Yuan Siye first saw Cheng Dieyi, Ge You sat quietly and spoke, and Zhang Fengyi played tantrums back and forth.
At that time, a mirror blurred Leslie Cheung.
That paragraph of Leslie Cheung has few lines, but the details are not perfunctory.
There are at least three shots, and he is blurry in the rearview mirror, but the posture is still adequate.
The difficulty is that he plays such a special character as Cheng Dieyi, and if the action is rough, he will lose the unconscious charm of Danjiao's daily life, and if he does less, he will be gone, and he always has to be a little strange, unlike a few other rough old men who can play more freely.
Or this scene, at the end Zhang Fengyi said that he wanted to eat flower wine, which implied the existence of Juxian, that is, Gong Li.
Fourth Master Yuan froze for a moment, slowly sneered and said: "There is another taste."
In this shot, if you stare at the blurry Leslie Cheung in the corner of the picture, you will find that he froze, did not lose his manners, but finally unconsciously raised his hand towards the heart.
His treatment, the vast majority of the audience will not necessarily notice, let alone taste the wonder.
I think this is the so-called, obviously you can rely on your appearance to eat, but you have to rely on your heart and acting skills.
On the other hand, it is so.
Leslie Cheung's mid-term expressiveness has reached this realm:
Sometimes I'd rather he act poorly, or play a role that's flatter, shallow.
To put it simply: don't act too heartily... Otherwise, it is easy to look at people as devilish.
Because when he plays deeply, the infectious power is too deep, and he can drag people into the darkness.
In "Farewell My Concubine", it is said that Cheng Dieyi smiled at Wanguchun and cried out for eternity, and this is also a natural fit for Leslie Cheung.
Before "A Fei", his acting was still flat. Very solid, can outline the characters, such as Ning Caichen's book is angry, but not complicated. At that time, he was handsome, beautiful, and cute.
Probably, after making a movie with Wong Kar-wai, he released the dark side of Leslie Cheung. In "A Fei's True Story", many of his actions alone in front of the camera have a kind of suction.
Many people can compare movies such as "A Fei", "Spring Light", and "East Evil and West Poison".
When it comes to the delicate grasp of diverse characters, Leung Ka Fai is simply a thousand-faced devil. Really play who is like whom.
When it comes to the conveyance of emotions, fullness and integration with the atmosphere of the film itself, Tony Leung is a god, and there is nothing inappropriate in smiling.
But Leslie Cheung... A different good way.
In "Farewell My Concubine", when there is no Cheng Dieyi, the temperament is the same. Zhang Fengyi, Yingda, Ge You, Gong Li, all act well, the portrayal is wonderful, the characters are vivid, and the tone size is enjoyable.
But Leslie Cheung's play is different. Quieter and deeper than someone else's. When the camera jumps from the world of Zhang Fengyi and Gong Li to Leslie Cheung, it seems to have changed the rhythm.
There is a feeling of darkness, dancing alone.
Like "East Evil West Poison", too. The play of Tony Leung and Leung Ka Fai brings out tangled emotions and is also very sentimental.
And Leslie Cheung's play is to hook people and go into the dark.
Probably Leslie Cheung is two extremes.
When he does comedy, it is bright. The boy is angry, freshly dressed and angry, good-looking, fun.
But when it comes to dark themes such as death, loneliness, decadence, and perseverance, Leslie Cheung can pull the audience far, deep.
A smile of eternal spring, a cry of eternal sorrow.
We talk about "one shot tells the most complete and full story", and there are many people who are great at this.
However, in that aspect, "continuous jumping clips, relying on one or two movements or eyes, or even a static, instantly infecting the audience", Leslie Cheung is very outstanding.
He was stunned, he was empty, and it was very infectious.
Just talked about light and dark, well, let's talk about this.
Leslie Cheung is very able to withstand various situations.
Leslie Cheung, in "Rouge Button", when he is bright and dignified, he is a handsome and elegant young master. The idol school of Yushu Linfeng.
But he can also withstand the water. In "Red Lovers", the hero who is about to become righteous, the posture in the heavy rain, is still good-looking.
He can also withstand dryness. In "East Evil and West Poison", in the big desert, unkempt, beard slag, still good-looking.
He can even stand up to tossing and turning at the camera. In "A Fei's True Story", the face is attached to the camera, and it is still good-looking.
The most beautiful thing is that Leslie Cheung can withstand darkness and shadows.
I have read it before, when it comes to the themes of death, loneliness, decadence, and perseverance, Leslie Cheung can pull the audience far, deep.
In terms of "continuous jumping clips, able to instantly infect the audience by one or two movements or eyes, or even a static", Leslie Cheung is probably unique.
Many places like to use this photo of him, extremely elegant.
What's so good? Half a face in the dark.
He is good for shadows.
There was an Italian painter named Caravaggio. There was a move in his drawing method, which was called cellar light at the time.
The surroundings are black, and the protagonist is drenched in darkness. This is the style of the Baroque period. Later, all of Italy and France learned this.
The advantage is that it is dramatic, very real, textured, and dramatic.
But this one is very picky: not everyone can afford to play like this.
Wong Kar-wai especially likes this kind of light and shadow. So he also loves Leslie Cheung very much.
In "Spring Light", casually, it is Leslie Cheung's face and shadows that cooperate to feel.
In the above "A Fei Zhengzhuan", the shadow effect on Leslie Cheung's face is moving enough.
Later, in "East Evil and West Poison", Wong Kar-wai let go of playing:
Leslie Cheung had a shadow on half of his face, talking about business with people, frivolous and mocking.
Leslie Cheung saw off Jacky Cheung, and also said goodbye to the last piece of sincerity, turning around, the light hit from the left, a face turned in the light, and the fragment was soaked in the darkness.
The best moment was: when the White Camel Mountain seduced Maggie Cheung, a light flashed through Leslie Cheung's face, and I intercepted it several times before I intercepted this moment.
——Off topic, this texture reminds me of Chen Kaige's "Embroidery of Qin", Sun Zhou played the crown prince Dan. It is also this kind of classical texture that is known at a glance.
Of course, what Wong Kar-wai can see, Chen Kaige will not understand.
In "Farewell My Concubine", Yuan Siye wears a warm color of Cheng Dieyi in the dimness around him.
In the next shot, in the shadow of the cold color, Cheng Dieyi was fully dressed and a tear fell. It is the so-called "no crazy devil, no life" moment.
Is this last shot good? It's already a little gloomy.
What about infectiousness and expressiveness? Unbelievably strong.
After watching this movie, all the way down, the audience who have seen this shot, it is estimated that there are few who do not feel taken away by the camera and brought to the back of the spine, right?
This is the most interesting thing about Leslie Cheung:
Many good-looking stars can't wait to look better and better, and look flawless.
But Leslie Cheung doesn't mind that he occasionally doesn't look good – as long as it's expressive. He knows well.
It's a long sorrow.
For example, in "Rouge Button", he can be a clean and elegant face above.
But it can also be this sad and miserable face in the shadow of old age.
He is 31 years old, not very old, put aside this year, and even sell cute age - in fact, he is indeed cute until he is old - but he is happy to act like this.
Later, "Singing in the Night" - the play in which he and Wu Qianlian took Huang Lei - he directly ruined half of his face. Most of the time, it is this gesture that appears.
After about a year of standing, he really didn't care about the image, and only looked at the performance effect. That's why there is the gradient performance in "The King of Guns", which is crazy and fascinating.
For many actors, they want to look good. They like to be bright, they like refreshment, they like a clean and clean image.
Leslie Cheung, especially after the age of 32, seems to be indifferent. Shadow became his good friend.
It's a pretty amazing thing: many actors avoid stubble or wrinkles so as not to look old-fashioned; Leslie Cheung does not shy away from these, but he has never lacked age.
It's a little muffled.
Let's talk about laughing at Wangu Chun.
In "Full of Gold" — formerly called "Full Han Seats" when it aired on movie channels — Leslie Cheung is a riffraff boy and Zhao Wenzhuo is a top chef. The two indulged and held a lot, and there were a lot of scenes.
In this shot, the two are looking at Yuan Yongyi. Zhao Wenzhuo's gentleness and Leslie Cheung's jumping are all out.
Can you see that Leslie Cheung is 16 years older than Zhao Wenzhuo, and he is 39 years old this year?
Well, say something fun.
Leslie Cheung does not avoid shadows and is happy to be funny.
He plays comedy out of baggage, often in two postures.
One is the pitiful look. Because of his youthful appearance, he always looks like he is being bullied. For example, in "Qiannu Ghost", he was pointed at by two swords at the same time, panicked, and funny to be cute.
This kind of funny, he can always play. For example, in "Love War Okinawa", she was mainly opposed by Faye Wong, held down a crazy kiss, kissed Faye Wong and left without incident, and Leslie Cheung looked taken advantage of the prostration.
——At this time, he was 44 years old, but he could still play this cute terrier.
One is to make fine. For example, in "Family Happy Events", all kinds of scratching and making gestures. At this time, Leslie Cheung was a look of "you think I'm as quiet as a virgin, but in fact, I'm crazy and scarier than anyone."
When he goes crazy like this, Leslie Cheung is particularly good at engaging in pompous actions.
In "Full of Gold and Jade", it's just a bear paw, and he plays a difficult game with Yuen Yongyi.
In "East Becomes West", he plays cheap with Wang Zuxian, oh, no, sword. It was really eye-catching and affectionate.
Of course, there are indispensable neurotic classics in film history: Leslie Cheung and Leung Ka-fai's "Double Flying Swallow" - I can't imagine what the hell it was like on the set. How many times did this thing have to be filmed?
In this posture, Leslie Cheung sang and added a line:
"I'll see how long you can last."
The loneliness in the shadows and the joy of the fine style seem to be the two of them, but in Leslie Cheung, there is no sense of discord.
Probably because, the focus of his performance has always been not on whether the skin looks good or not, but in the effect of the performance, right?
So looking at a few hard photos and looking at a few pictures, you can't really feel Leslie Cheung.
Those clips listed above, those who have seen it, can naturally have a series of actions in their minds.
If you think that the static Leslie Cheung on the screen looks good, then look at the dynamics, especially when combined with the dynamics in the work, that infectious power is another level - Wong Kar-wai painstakingly walks around Leslie Cheung with all kinds of lights, and even uses a birdcage to project on his face, all for this.
The best-looking and most amazing performers around them are often more open-minded about the youthful and good-looking image.
Probably because, everyone who has seen it knows that a beautiful and sweet image can make passers-by remember it for a few days.
And excellent performances can be planted in the depths of people's memories, and time passes, and they still keep jumping out: as if that person is smiling behind your back, and you can see him in the dark when you look back.
The last thing, which I should have said before, was my personal experience seven years ago in Shenzhen and listening to a teacher:
That teacher was the director of the Academy Awards (and also built a wooden house for the MV of Andy Lau's "Ice Rain"). He said that at the Academy Awards that year, the parking lot was not arranged, and Leslie Cheung arrived, and there was no place to park. The teacher ran over to help solve it, and Leslie Cheung bowed to him before entering the field to thank him. The next day, the assistant sent a thank you card signed by Leslie Cheung.
It has been twenty years since Leslie Cheung passed away.