In history, what is the story of Liu Jialiang?

Teacher Liu Jialiang, a famous martial arts instructor, director and actor in Hong Kong; In the Hong Kong kung fu film industry, he can be called a "grandmaster" level figure.

This familiar and beautiful song comes from the 1986 movie "North and South Shaolin", and the director of the film is Liu Jialiang, the grandmaster of authentic martial arts films in the history of Chinese martial arts films. Audiences in Chinese mainland began to know Liu Jialiang, mostly from his "North and South Shaolin", but many people did not know that before the filming of "North and South Shaolin", Liu Jialiang was already an old-timer of Hong Kong martial arts kung fu films, and his "Eighteen Martial Arts", "Shaolin Thirty-six Rooms", and "Drunken Fist II" are all his masterpieces. Before filming "North and South Shaolin", I wanted to shoot a film about Liu Jialiang who knows eighteen kinds of weapons, I don't just fight boxing and weapons, I am good at weapons. This play is not bad, the highest-grossing play of the Shaw Brothers Company. I like things, I don't like Chen, I just have a good heart. In 1982, Shaw Brothers' film "Eighteen Martial Arts" was one of the top ten grossing films in Hong Kong that year, and Lau Kar-leung not only served as the director and martial arts instructor of the film, but also played the starring role, not only showing his exquisite martial arts skills on the screen, but also expressing his reverence and adherence to the spirit of Chinese martial arts. My opinion is that every martial arts practitioner must know what the purpose of martial arts training is, why they practice martial arts, and whether they want to fight with others, and if you don't fight, you can't show that you are practicing martial arts; Third, whether you are practicing martial arts for begging for food or for work; Fourth, you practice martial arts to strengthen your body; The fifth and most important thing is to restrain yourself. If you trace the history of Chinese martial arts films, Liu Jialiang is unique in every aspect. Every audience thinks of kung fu hard bridge hard horse and Liu Jialiang; Thinking of flying, Cheng Xiaodong; If you always love to fight, let's say Yuan Heping. As the third-generation descendant of Wong Fei Hung, Liu Jialiang is not only the martial arts instructor of the new school of martial arts films, "Yunhai Jade Bow Edge" and "One-armed Knife", but also a martial arts filmmaker who is famous overseas for his true kung fu. My father at home is really kung fu, movies are my lifelong pursuit, I have been filming until now I am still making movies, I have always made movies, I am still kung fu, I have never filmed literary dramas, love scenes, I don't shoot any scenes, forever kung fu. In the 80s of the last century, the Hong Kong martial arts film industry was full of talents, and for a time, Sammo Hung, Jackie Chan, Yuan Heping, Cheng Xiaodong and other martial arts action directors continued to launch action movies with modern styles, while their old-timer Liu Jialiang still stuck to the position of traditional martial arts kung fu films. I like to shoot our Chinese tradition, Chinese martial arts and kung fu can not be degraded, can not be allowed, the master is the master, the elders are the elders, this is our Chinese tradition, we have been from childhood to now, I still have to respect the teacher. Liu Jialiang's adherence to traditional martial arts movies is well-known in the Hong Kong film industry, and when it comes to his almost stubborn persistence, we have to start from his childhood memories. My master is my father, I learned martial arts at the age of 7, I learned the southern school, I learned the Hong boxing, came to Hong Kong in 1949, after coming to Hong Kong, we have nothing to do, many friends told their father, open a martial arts gym in Hong Kong, when the life was very poor before, you have to teach it, teach boxing every day to make money, our family has six brothers, two sisters, one brother, two sisters, then my little sisters, sisters want to study, let them read, I don't read, I go to teach kung fu, teach people boxing. Liu Jialiang's father Liu Zhan was a famous boxer in Hong Kong at that time, and often played cameo roles in some kung fu movies. In the past, my father sang a big opera, and I had a group of friends, and my friends told my father that they were not interested in collecting paintings, we called painting in Cantonese, and in the past, making movies was not called filming or painting, but there was a play, and he said that there was no opponent, and he couldn't fight with adults, so he looked for children, and his father said that he did, and asked my son to fight with you, so he entered the film industry with his father, about 1957. Since then, Lau Kar-leung has served as an extra and dragon and tiger martial artist in a number of Cantonese films, including "The Burning of the Red Lotus Temple" in 1963, "The Burning of the Red Lotus Temple" in 1965, and more than a dozen Wong Fei Hung films, until "Southern Dragon and Northern Phoenix" in 1963, Liu Jialiang cooperated with Tang Jia and officially embarked on the road of martial arts instruction. There was no martial arts guidance before, no, how could there be a martial arts guide later, later, as a protagonist, a person filmed a lot of group scenes, filmed this and that, very tired, stood up, to fight with this, with that, editing, how to fight, how to fight, too tired, find someone to come out on his behalf, see how that person walks, this person is qualified to take the place of the protagonist, and then this person will always replace the protagonist to move, your side, he said, he became a coach, at the beginning when the protagonist did not contact the director, he said to the leader, There is a scene where you are fighting how to fight, just move, the protagonist is looking at you, and you begin to have martial arts instruction.

In 1965, the martial arts film "Yunhai Jade Bow Edge" directed by Zhang Xinyan and Fu Qi created a precedent for the century of color martial arts, and the martial arts instructors of the film were Liu Jialiang and Tang Jia. There was a phone call and said that the Great Wall Company wanted to ask us to shoot a "Yunhai Jade Bow Edge". In a martial arts design in the film, Liu Jialiang made creative use of the stunt of hanging the wire, and the result was very popular. At that time, there was no Weiya, how to fly over, then I thought, I have seen a play before, I have seen a play in Japan, this play, hanging tightrope, I built a track on the flyover, a track that pulls a car, buckles the track with Weiya, people hang down, a pull can't work, a pull people swing, just use two Weiya, fix it front and back, three Weiya, don't you wear a gang, you can't cover it with light, then you will find a way, in the house, a shed, with some hay, a very long, pretending to be a cover, and then look at it, good, you can start it. In 1965, "Yunhai Jade Bow Edge" became famous in one fell swoop, Liu Jialiang and Tang Jia were hired by Shaw Brothers as full-time martial arts instructors, and successively cooperated with Xu Zenghong, Zhang Che and many other directors, among them, in 1967, he served as the martial arts instructor of the film "One-armed Knife", and created a new style of masculine martial arts movies with director Zhang Che. Zhang Che told us that I am going to make a "One-Armed Knife" now, and it will be nice to hit with my right hand broken and my left hand. At that time, there were many weapons, one called the golden knife lock, which was locked up as soon as it hit and snapped, why was it locked, because the knife was bent, and the bent part was stuck, and then the bent part was cut in half, and the golden knife lock could not be locked. In the 70s, Liu Jialiang became the royal martial arts instructor of director Zhang Che, and successively served as the martial arts instructor of hundreds of martial arts kung fu films such as "Thirteen Taibao", "Fang Shiyu and Hong Xiguan", "Stinging Horse", etc., accumulating very rich experience and establishing his supreme status in martial arts guidance. Director Zhang Che is different, as soon as he arrives at the literary drama, he immediately takes over the play, don't be so slow, watch us, can pick up our actions, there will be no problem, so Zhang Che is a very good director. One of my favorite dramas is called "Stinging Horse", the scene of the fight, I and Tang Jia spent a lot of ideas, and now many people learn our way of playing, Dillon follows Jiang David in a decisive battle, the enemy surrounds him, don't kill him, let the two of them die, the matter of the two brothers, the two brothers are over. In 1978, the "Shaolin Trilogy" "Shaolin Thirty-six Rooms" was released in Hong Kong and became one of the top ten grossing films in Hong Kong that year. "Shaolin Thirty-six Rooms", I immediately thought of it and went to shoot it. "Shaolin Thirty-six Rooms", I still have an idea, who has been the monk, who will act, Liu Jiahui. One day, I was filming on location, it was raining, I saw a big stone, it was beaten by the rain, it looked good, I thought of shaving my head, the rain went down, and I practiced, how beautiful it was. Two years later, Liu Jialiang once again launched the "Shaolin Trilogy" "Shaolin Tent Master", which skillfully combined martial arts and kung fu with the daily work of monks, and further pushed the acting career of his brother Liu Jiahui to a peak. Build a shed, I like to roll up the small bamboo poles, buckle, lock, one night to see, to build two sheds, I saw children playing with bamboo on the side, immediately thought, if to say, build a shed, with the wrist to twist the bamboo, is a kind of kung fu; A very long bamboo pole and hanging a thing are also a kind of kung fu, and they are also used with sticks, and then I thought about it myself, so I filmed this scene, and told my friends, it is very enjoyable, yes, many techniques are immediately thought of by myself. The 1976 film "Martial Arts" is Liu Jialiang's personal favorite work, and the lion dance scene at the beginning is also his own design. The best filming of "Martial Arts" is this drama, the lion of the southern school, no one has ever filmed it, layer by layer, one person carries one, no one has ever filmed it, I will show you. In 1985, Liu Jialiang left Shaw Brothers Film Company and began directing and starring in a series of popular action films such as "Tiger Guard", "New Best Partner", and "Scorpion Warrior", which reached a peak of action movies at the time with a bright pace and dazzling action. A lot of people, when they fight, everyone looks at themselves, sometimes when they fight, they say master, how did you punch out, I say I can't play slowly, I am used to playing fast, sometimes when I make my own moves, I fight fast, I can't feel it, it's too fast.

In 1994, "Drunken Fist 2", directed by Lau Kar-leung and starring Jackie Chan, won the Best Action Design at the Hong Kong Film Awards that year. Jackie Chan has always acted in comedy, you tell him not to shoot comedy, he can't do it, but as soon as Jackie Chan shoots, he has his own set, for example, ENDDlNG (end) played a scene, that fire scene, he said his own ideas, and he filmed it himself. The scene in front of me was filmed by myself, and the best part is, of course, the part where the gun is held under the train.