When the Hollywood blockbuster "Rise of the Planet of the Apes 4: New World" was released worldwide, the Hong Kong film "The Siege of the Kowloon Walled City", which had been in theaters for more than two weeks, was quietly staging a battle to turn around.
not only surpassed the works of the same period at the box office, won the box office champion of the weekly list in one fell swoop, but also achieved a gorgeous counterattack in word-of-mouth, reshaping a new legend in the film and television market.
From an under-regarded film project to a box office champion, the success of "The Siege of the Walled City of Kowloon" is not only a commercial miracle, but also a resounding declaration of the strength of Hong Kong cinema. After experiencing countless challenges and difficulties, this film has shown the world the unique charm and creativity of Hong Kong films.
Since the beginning of the millennium, Hong Kong Film has declined, and the road of Hong Kong Film to the sunset has been an endless argument in the mainland, and the production of the year is not as good as the year, which seems to prove the "correctness" of this thesis.
But Hong Kong Film, just like Xiaoqiang who can't be killed, can always give a touch of sunshine in a desperate situation: Stephen Chow's "Kung Fu" after the millennium, Tony Leung's "Infernal Affairs", and "Chasing the Dragon" 10 years later, even 20 years later, after Hong Kong Film has been sung down for more than 20 years, works like "Rage: Serious Case" were born, and Nicholas Tse has also become the "successor of Hong Kong Film".
After "Rage: Serious Case", Hong Kong Film seemed to have been drained of its spirit, and fell silent again, thinking that "Rage: Serious Case" was just a return to Hong Kong Film.
But I never thought that "The Siege of the Kowloon Walled City", which partnered with Sammo Hung , Ren Qixian and other "old gangsters in the Hong Kong circle", is not inferior to Nicholas Tse's "Rage: Serious Case" in terms of excitement, and even in terms of story line and visual impact, "The Siege of the Kowloon Walled City" is even better.
Such visual effects have also won the market and reputation for this play.
The performance of "The Siege of the Kowloon Walled City" is particularly eye-catching, not only is it not optimistic about the counterattack on the Japanese crown, but also dominates the weekly crown, judging from the current trend: The box office of "The Siege of the Kowloon Walled City" rushed to 500 million, continuing to lead the box office list, without any problems at all.
Its success has broken many records, while also challenging the audience's perception of traditional action movies. Whether it is the superb performances of the actors or the high-burning fight scenes without urine points throughout the whole process, the audience has rekindled their love for classic action movies, and also allowed mainland audiences to see the profound heritage and uniqueness of Hong Kong films in a real sense.
The success of this film has undoubtedly had a far-reaching impact on the entire film and television market: the mainland market, which has always boasted of being rich and well-versed in terms of wealth and complete understanding of the audience's needs, will still fail in the face of the real "master attack" of Hong Kong films.
As long as the so-called caters to the market and the audience, "weight loss tablets" can also sell in the sky-high market, but it is just a "capital carnival", no matter how good the publicity is, there is no good foundation, and it has no effect.
The current market is like this, as long as it is a masterpiece, even if there is no overwhelming publicity, there is a large amount of "tap water" injected, so that the work will not lie in the corner and grow ashes.
It is worth mentioning that perhaps, after experiencing the explosion of this work, the domestic entertainment market can understand a truth, as long as the film is made, it will definitely be able to get ahead.
At the same time, the success of "The Siege of the Kowloon Walled City" also proves a truth: the so-called decline of Hong Kong film is just the self-humility of Hong Kong film people, and if the Hong Kong circle is really willing to polish a work, it is still easy to produce high-quality products.