"All fear stems from lack of firepower", this sentence is also suitable for Hong Kong films.
Many people mistakenly think that it is because Edison Chen's incident has made the group of young people in Hong Kong disappear, become chefs, make trendy brands, and be banned, but in fact, the decline of Hong Kong films is the inevitable result of the development of the times.
This result has led to a fault line among Hong Kong actors, but the pot is not in the mainland, but Hong Kong has to thank the mainland for allowing it to have a prosperous era of "everything is overdone and all crazy".
Hong Kong cinema was able to rise because of the war.
Although China's first film, Dingjun Mountain, originated in Beijing, the real gathering place of Chinese cinema was Shanghai, where the first and second generations of directors turned Western cinema into Chinese cinema.
The star film company founded by Zhang Shichuan and Zheng Zhengqiu and others, Lianhua Pictures, which merged with Lai Manwei, the father of Hong Kong films, and others, and Tianyi Film Company, which was opened by Shao Zuiweng, the eldest brother of the Shaw brothers.
These film companies trained a large number of excellent directors and actors, and by the 30s, Chinese films ushered in the first golden age, but the outbreak of the Anti-Japanese War dealt a devastating blow to the film industry.
Many film talents have come to Hong Kong to escape the war, and they have taken root here, injecting excellent factors into Hong Kong films, giving the concept of Hong Kong films a popular capital.
For example, Fei Mu and Cheng Bugao in the second generation of directors, as well as leftist film companies such as Great Wall and Phoenix were also established in Hong Kong.
There is also Tianyi Pictures also transferred all its business to Hong Kong, although the later Shaw Brothers (Hong Kong) Film Company was created by Run Shaw and Shao Renmei, but inherited the production route of Tianyi Pictures.
In 1964, almost all of the executives of the company were killed in a plane crash, and the Shaw Brothers had fewer opponents in Hong Kong.
These film companies and filmmakers basically came to the mainland, and a large number of talents poured into Hong Kong, the land of projectiles, and Hong Kong films, from Chinese films to Cantonese films, consumed this group of people or their second generation, as well as the filmmakers they cultivated.
The first and second generations laid the foundation for Hong Kong films, and the third generation made Hong Kong films soar.
For example, Tsui Hark, Xu Anhua and others grew up under the guidance of Hu Jinquan, Wu Yusen studied under Zhang Che, Lin Lingdong, To Qifeng and others were Wang Tianlin's disciples.
Chow Yun-fat, Stephen Chow, Andy Lau, and Tony Leung all came from Run Run Shaw's wireless training class, and Jackie Chan, Sammo Hung, Yuen Biao and other seven little blessings studied under Yu Zhanyuan.
When the talents of the mainland make Hong Kong films feast guests, rise to high-rise buildings, and are glorious, it is enough to cover up too many problems, and when they retire and grow old, Hong Kong films quickly decline, and the successor is weak, and the wealth is not more than three generations.
In fact, the older generation is gone, and they can still find a successor, but Hong Kong's economy and the general trend of the world, as well as their pattern, no longer allow them to try and make mistakes.
Hong Kong has never understood that they have become rich not because of how powerful they are, but because of geo-economic and historical reasons that have created Hong Kong's prosperity.
If Hong Kong does not have any advantages on its own competitiveness, Guangzhou can be replaced by Guangzhou, which is closer to it, and there is more than one such city.
After the reform and opening up, the mainland needed to get in touch with the outside world, but it was blocked at that time, coupled with the distrust and wait-and-see mentality of the outside world, Hong Kong was the only place to communicate with the outside world.
Even though the interior was very poor at that time, the land was vast and the people were abundant, and the total amount was frighteningly large.
There are also funds from all over the world, and the money from the mainland and the world has to pass through Hong Kong, and the pumping alone is enough to make Hong Kong vomit.
The money came quickly, the money was made quickly, Hong Kong's economy took off, and the 80s were more prosperous, and the movies also took this wave of free ride.
But if you make more money quickly, people will be lazy and bold.
It's just a matter of selling off-the-plan properties, Hong Kong films have followed suit and started selling films, but the film has not yet taken shape, and the actors have not been finalized, so they sold the film to Taiwanese film dealers with only one or two names.
In 1993, Taiwan's eight major film companies boycotted Hong Kong films, lowered the price of buying films, and set up their own production companies.
In the late 90s, especially after the new century, the mainland's economy took off, and there was more than one Hong Kong as a window to the outside world, and Hong Kong's geo-economic status declined, and a lot of money did not have to go there.
The lifeblood of Hong Kong's economy is finance, there are no other pillar industries, as soon as the money is withdrawn, the decline is easy to see, and the film will naturally be hit hard, and without money, there will be no confidence to cultivate young people, and a vicious circle will be formed.
In addition, Hong Kong is too small for movies to form a complete industrialization, and Hollywood will fall apart when it comes.
Without the ability to repair itself, coupled with the uninterrupted and sustainable efforts of Hong Kong filmmakers, the little bit of repair power that Hong Kong films have left is gone.
Wong Kar-wai once explained that he had a complete script, and the reason why he didn't give it at one time was because he was slow to film, and it was popular in Hong Kong at that time.
Hong Kong movies have not reflected on it and saved themselves, but in the end they all chose to be Wang Jing, sitting on the empty side, eager for quick success, and finally surviving for a long time, relying on their feelings to make a fortune, only looking at the immediate profits, and not wanting to be in the future tense.
Ang Lee said very well, the current movie craze is all made up of hot money, the moat is not deep enough, and no culture has been formed.
Like American movies for a hundred years, Hollywood has been declining in recent years, but many box office figures are still very beautiful, and it is still the leader in the world.
Because movies have become a part of their stable culture, they can accommodate bad films, good films, art films, and commercial films, which is a healthy development.
Looking back at Hong Kong movies, there is no such process, only "everything is over-the-top, all crazy", the fire is so big that it burns itself, and it still can't be cured, and the brain can't turn around, and I still live in the past.
Mainland films now have the shadow of Hong Kong films in the past.
Don't pay attention to it, don't pursue to be a part of the culture, the end of the flowers, not the flowers, but the end of regret, the flowers are not red, the dead sheep can be not too late, or it can be the late regret, it depends on how to choose.