As Liu Jialiang's first film, although "Shen Da" has received a lot of praise and affirmation, I have also seen some comments saying that its plot is slightly thin, the director's technique is not skilled enough, and whether the director's technique is not skilled or not.
The general rule is always more and more experienced, and I don't see anything that is clearly out of line with the film director's approach.
As for the thin evaluation of the plot, it is too far-fetched to say, but it is much more mature and smooth than some of Liu Jialiang's later masterpieces. Perhaps it is more appropriate to describe it as simple rather than thin, but the fact is that simplicity is a necessary quality for films aimed at music and business.
<h1 class="pgc-h-arrow-right" data-track="18" > kids and girls</h1>
Wang Yu plays a boy who walks the rivers and lakes with his master in "Shen Da", relying on a little kung fu and a little bit of mongolian tricks to pretend to be a ghost.
One day, master was arrested because he was involved in fraud, he had to break in on his own, and with his little cleverness, he actually mixed up with sound and color, and everyone respected him as a little master. This little master not only deceives people, but also loves to fight and hug unevenly and strongly, and it is inevitable to cause some trouble.
One day he was hunted down and killed, and he got the help of a young girl, and since then the two have fought the world together.
The two are not enemies and do not get together, the girl does not like him to deceive people, but always helps him in the name of apprentices, and the two become very good friends. At the end of the film, he and his master catch the wanted murderer, but the master is taken away by the police. He didn't want to live a life of cheating and drinking, but he didn't know where his life should go.
At this time, he thought that the apprentice and friend who had left had appeared, but this time, she changed into women's clothes.
<h1 class="pgc-h-arrow-right" data-track="19" > successful character development</h1>
After watching the film, the first feeling is that Wang Yu plays such a role, and it is difficult to think of it as not to be popular.
At that time, Wang Yu, who was twenty years old, regardless of his true temperament, looked like a small and intelligent face, and his skills were very flexible. It's not an exaggeration to say that he played the characters of the film. Although he is not a great hero, Xiaoshi Chuan Gudao Hot Sausage has a more spirit of salvation than many heroes and good men. Half selling art and half cheating to eat and drink, he lives a realistic and more intimate and interesting life without telling big truths.
Throughout the movies at that time, the image of the little master created by Wang Yu and Wang Yu was really only one person, worthy of the word cute. Not only is the little master cute, but the girl played by Lin Zhenqi can only be described by the word cute.
There are not many classic films of Lin Zhenqi, before "God Fight", there are only "Taxi Gangsters", the girlfriend of a decent person. In "God Fight", she appeared in women's costumes, highlighting her tomboy side, showing people in women's clothes at the end of the film, big eyes plus a slightly rounded melon face, the girl's femininity is fully displayed, and the beauty embryo of Peugeot is displayed.
At that time, Lin Zhenqi was also 20 years old, and a pair of young people in the double decade rejuvenated the vitality of the film with their own enthusiasm. As a director, being able to choose the right actor for the film is also a manifestation of mature skills, and Master Liu Jialiang's turning director with a martial finger is the time and strength.
<h1 class="pgc-h-arrow-right" data-track="20" > the little master's path to spiritual salvation</h1>
Walking the rivers and lakes to sell art is a state of survival and a way to make a living, as a mode of life, it does not have a plot itself, only has a carrier function. On this basis, seek relevant personnel, there will be a story, otherwise it will become a journal.
Such a film has a little bit of the characteristics of a road movie, but unlike a road movie, it may cycle back and forth, not necessarily going forward, and may even quickly stay at a certain point.
It says swift because all roads come to an end, and people who walk on the road will eventually stop, and of course they may turn a corner, but that's a new road. There are many films that keep walking around, but when watching "God Fight", I suddenly think of Gisaibe Tornadore's "Scout" pretending to be a scout man to audition all the way to deceive people, thinking that life is going on like this, and as a result, he meets a beautiful girl, and his heart and life change.
The characters are in different states, but the paths are also similar.
Although Xiao Fu is kinder and simple than the old man in "Scout", if he does not meet the girl played by Lin Zhenqi, his life may continue on the old road. And as he ages, he may become a numb and immoral man. The road movie has a double meaning, and the ultimate purpose of the protagonist encountering different people is to grow. Moving forward is both a tangible act of reality and a run of the mind.
The growth of the mind abstracts cannot be seen, and how the spiritual world is always expressed by words and deeds. Combing the protagonist's path of spiritual redemption, the character has long been established.
Liu Jialiang is a master of kung fu, but not a master of the story, how to arrange the plot of the movie is learned in many years of martial arts career, "Shen Da" has nothing new, but there should be elements, which is the benefit of learning from practical operation. After paying attention to Shaw's films for a while, I have deeply felt the consequences of different systems.
<h1 class="pgc-h-arrow-right" data-track="21" > a master role without a sense of presence</h1>
The master's corner does not have to exist? In fact, it is true that the presence in this film is very weak, and he is only a background in the film, and his appearances are extremely limited. And the meaning of existence seems to be only two points:
The first is the ability of the church apprentice to mix the rivers and lakes, which includes the ability to adapt and many deceptive tricks, according to the current parlance, to train and develop his emotional intelligence and intelligence;
The second is to tell the little apprentice who the wanted man is when the two see the wanted man at the beginning of the film.
At the end of the film, there is still a bit of practical function in pointing out the apprentice kung fu, but this function can also be replaced by others, and in the end it is dispensable. But judging from the number of ways to grow up in the movie, such an elder is too much needed. The apprentice played by Wang Yu, after the master fu was gone, the little master had the momentum of being blue, and soon won the respect of most of the people in the county with his excellent skills and skillful skills in pretending to be ghosts.
While watching the film, I sighed that Wang Yu is not easy, the full set of ghost-possessed performances is not discounted at all, compared to the action scenes, it is actually more difficult.
This is also another place to see in "God Fight", without sparing the length to fully show the whole process of attracting the god's body, especially the performance of Qi Tian Dasheng's possession, playing monkey fist with rich facial expressions, scratching ears and scratching cheeks must be in place. Although there is still a gap compared to Peking Opera performances, movies win in natural randomness, and Peking Opera performances are always too stylized.
Thank you for watching, paying attention to me, and learning more about it.