With the arrival of the National Day holiday, the box office war of the National Day file has also begun. And the four works of "Win the Championship", "Vanguard", "My Hometown and Me", and "Jiang Ziya" have also launched a fierce fight above the eleventh box office market this year.
According to the box office data and word-of-mouth evaluation released on the Internet, "Jiang Ziya" led the National Day file with a box office performance of 634 million, but "high-level painting, young stories", but the film's reputation was polarized, and the score continued to decline.
"My Hometown and Me", which was released at the same time as "Jiang Ziya", although it ranked second with a box office performance of 505 million, but the stable quality won the film a stable reputation.
Compared with "Jiang Ziya" and "My Hometown and Me", which were released on time on October 1, "Win the Championship" and "Vanguard", which ran ahead of schedule, were somewhat unsatisfactory in box office results, with one 379 million in 8 days of release and 139 million in 3 days of release.
Among these 4 film works, Jackie Chan's "Vanguard" cooperated with his old partner Tang Jili is undoubtedly the most embarrassing one in the market. After the release of the film, not only was the reputation frustrated and the rating continued to decline, but the attendance rate of the film also declined.
The reputation of "Vanguard" was frustrated, which made many viewers sigh that Jackie Chan and Tang Jili were the old partners of Jiang Lang. The familiar "stereotypical stunt scenes" in the film also reminded many fans of the action Hong Kong film cooperation road of Jackie Chan and Tang Jili.
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The most fundamental reason why the audience's evaluation of "Vanguard" is so cold may be that the design of the film is too stereotypical.
In the early years, Jackie Chan has always taken the road of self-directing and self-acting. On this road of self-directing and self-acting, Jackie Chan has successively filmed classic works such as "Plan A", "Police Story", "Miracle" and "Flying Eagle Project".
However, as the director of the film, the inability to effectively control the production cost has always been a major flaw in Jackie Chan. In 1991, after Jiahe experienced a serious overrun in the shooting cost of "Flying Eagle Project", he kicked Jackie Chan out of the director's position.
In 1992, Tang Jili was appointed by Jiahe to direct and shoot "Police Story 3" for Jackie Chan as a director. Starting from this "Police Story 3", the screen combination of Jackie Chan and Tang Jili was officially established.
Since the beginning of this work, weakening the shaping of character emotions and relying on a simple and cheerful story rhythm has led to one wonderful and exciting action scene after another, which has also become an inherent film mode for the cooperation between Cheng and Tang.
Before "Police Story 3", Jackie Chan still attached great importance to the inner shaping of the character.
"Ma Rulong", who is cynical but dares to think and dare to do it in "Plan A"; "Chen Jiaju", who does not hesitate to bump into his superiors and block the car for justice in "Police Story"; "Guo Zhenhua", who becomes the boss in "Miracle", but always maintains simplicity and kindness in his heart.
The personality charm of these characters, combined with complementary action fight scenes, has touched a group of audiences on the big screen.
However, with the emergence of Tang Jili, Jackie Chan's film works began to weaken the shaping of characters more and more. Instead, it is one exciting and exciting action scene after another.
From "Police Story 3" to "Red Fan District" to "Police Story 4", Tang Jili has repeatedly refreshed Jackie Chan's box office record with one grand action scene after another.
And the audience is also looking forward to Jackie Chan constantly breaking through his own physical limits and bringing more shocking stunt performances.
Tang Jili's action film mode of "simple character story performance and dense action scenes" has won a lot of praise for Jackie Chan when he was young.
However, with the decline of Jackie Chan's physical fitness and the limitation of stunt performances, Tang Jili's film model has begun to perform more and more weakly in today's box office market.
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Whether it is the previous "Kung Fu Yoga" or this year's "Vanguard", Tang Jili has designed a lot of rhythmic and exciting fight scenes for the film. But the audience, who is accustomed to watching Jackie Chan jump off the building and pickpocket the plane, has long been accustomed to these action shots.
Unless the film can create large-scale action scenes that exceed the past, it is difficult to stimulate the audience's visual nerves again. However, when he was young, Jackie Chan performed too many action miracles on the big screen, and it was not easy to surpass.
Traditional action scenes cannot bring new visual stimulation to the audience. The film's lack of shaping of the character also leads to the lack of tension in the film story, which cannot drive the audience's viewing emotions.
In "Police Story", the shot of "Chen Jiaju holding a glass shard and hijacking Zhu Tao" shook the hearts of many viewers. However, in works such as "Kung Fu Yoga" and "Vanguard", the weakened emotions of the characters are difficult for us to produce such a strong viewing experience.
In fact, since being ousted from the director position in 1992, Jackie Chan has begun to contact different directors and try various action film shooting modes. In addition to Tang Jili, on the road of Jackie Chan's action films, director Chen Musheng also left a strong mark.
"Police Story 3", "Red Fan District" and "Police Story 4" have enabled Jackie Chan and Tang Jili to usher in their career peaks. After 1996's "Police Story 4", Tang Jili ended his cooperation with Jackie Chan and went to Hollywood to shoot the comedy film "Mr. Off the Line" for Disney.
With the departure of Tang Jili, Chen Musheng has also become Jackie Chan's new action film partner.
Compared with Tang Jili, who blindly pursues action stunt scenes, Chen Musheng's portrayal of the inner emotions of the characters is obviously much more delicate.
In the early years, Chen Musheng became famous in the film industry with prodigal film works such as "Heaven is Like Love", "The Sky in Mong Kok" and "Happy Hour". For the inner emotional expression of the characters, it is also a film technique that Chen Musheng is very good at.
In 1996, Chen Musheng became famous in the action Hong Kong film market for directing "Stormtrooper's Streets of Rage". Because of the success of the film, Chen Musheng was hand-picked by "Jiahe Boss" He Guanchang and directed the movie "Who Am I" for Jackie Chan.
In this "Who Am I", Chen Musheng not only continues Jackie Chan's consistent action stunt style, but also increases the portrayal of the character's inner emotions, through a story of an agent looking for memory, and reflects on the cognition of self-identity.
With excellent character portrayal and wonderful action scene presentation, this "Who Am I" received wide acclaim after its release and became the last action peak of the Jackie Chan Film Era.
After "Who Am I", Jackie Chan, who is getting older, began to feel powerless. In order to seek a new direction of development, Jackie Chan began to try to weaken the inherent mode of stunt performance and try a new screen style.
And Chen Musheng has also become a powerful assistant on the road to Jackie Chan's style transformation.
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After 2000, Jiahe was acquired by "Taiwanese electronics giant" Acer, and the management underwent structural restructuring.
At this time, Jackie Chan also chose to leave Jiahe after filming "Secret Agent Maze" and established his own "Jackie Chan Emperor Pictures".
After leaving Jiahe, Jackie Chan began to make drastic changes in style with the help of Chen Musheng. In 2004, Chen Musheng planned "New Police Story" for Jackie Chan. In this work, the "Chen Jiaju" who was once full of vigor and blood has become the "Chen Guorong" who is old-fashioned and frowns.
Through the change of character image, Chen Musheng successfully conveyed Jackie Chan's desire for transformation to the audience. The excellent story design has also made the film love countless fans.
After "New Police Story", Chen Musheng and Jackie Chan took advantage of the victory to pursue and cooperate in a "Baby Project". In this work, the "flip-flops" of gambling addiction and escaping from life also allow Jackie Chan to make a new on-screen attempt.
After "Baby Project", in order to win an "Academy Awards - Best Director" trophy, Chen Musheng chose to leave Jackie Chan and develop his film career independently.
With the departure of Chen Musheng, Jackie Chan once again came together with his old partner Tang Jili. In the face of The incapable Jackie Chan, Tang Jili's understanding does not seem to be as profound as Chen Musheng's.
In 2012, Tang Jili wrote the "Zodiac" for Jackie Chan, once again pushing Jackie Chan back to the old routine of action movies with "simple character performance and dense action scenes".
The subsequent "Kung Fu Yoga" and "Vanguard" also let Jackie Chan step in the same place in the old routine and old mode of film stories.
In recent years, Jackie Chan's screen performance has been unsatisfactory, and the reputation of his works has also declined.
This year's "Vanguard" is considered by many fans to be Jackie Chan's turnaround. However, as soon as the film was released, it encountered a word-of-mouth crisis, which also increased the difficulty of Jackie Chan's career.
In the face of such a situation, "Vanguard" also has to make people sigh: for Jackie Chan to direct and shoot film works, Tang Jili's directing ability is still inferior to Chen Musheng.
Original 丨 Article Copyright Genus: Magical Blush Lake
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