Obviously, Du Dao's "Judo Dragon and Tiger List" is an inspirational film, and his interpretation of inspiration is expressed through some obscure means.
The form is manifested as Situ Bao finally overcoming himself and facing up to suffering, and the whole process is inseparable from the love of his colleagues, friends, and master (father).
In my opinion, the depiction of judo in the whole movie is a cover, it has risen to an abstraction, which is a kind of obscure method, because it represents the communication between people, positive and self-motivated, which is manifested in a wonderful bar judo group play in the middle, which is analyzed later.
In essence, it is Situ Bao who eventually matures and replaces the master (father), which is manifested in the repeated sentence "Don't play soda" and eventually becomes his words.
As a model of inspirational films in Hong Kong and Taiwan movies will not be rare, like "Guild Wars", the form is similar to "List" to some extent, but the human nature in "Radical" is relatively less discussed, and his performance of inspirational elements is reflected in Peng Yuyan's unremitting efforts to learn this process, and Zhang Jiahui, as a down-and-out ordinary person, is inspired to overcome himself, so the boxing in this film is a substantial thing.
In contrast, the inner portrayal of the characters in "Bang" is the tracking depiction of the spiritual banishment state of the fallen people, and at the same time, the various characters are communicated and collided with them, so as to achieve spiritual transformation, so judo is just a false move, romanticizing the cruel reality, and the technique is better.
Du's films focus on small scenes and large scheduling, relying on lighting to create exquisite pictures. Looking at Du Dao's works, it is not difficult to find that the indoor drama can reflect his style very well, the small pattern relies on the set plus scene scheduling, and the flexible perspective changes give us a sense of movement, so that the scene has a dramatic tension.
For example, the bar inquiry scene began with three people singing on stage, the environment explained the four groups of people and horses under the stage, Xiaomeng kicked Situ Bao, and under his line of sight was a positive picture of three people looking for him. So the relationship between the characters is clear. The next three are surrounded by four groups of people and horses, and the mixed cuts of this paragraph rely on language (forcing Liang to be a prostitute), walking position (Situ Bao), and turning back (Tony), so the original cramped small scene has an expanded dramatic tension.
In the scene of the conversation between the big barbarian brother and the three people before the fight later, the big barbarian brother always lived in a picture, and the three people appeared together in the opposite picture, which reflected the confrontation of forces, they were under the oppression of the big barbarian brother, at the same time, the characters behind the big barbarian brother from time to time appeared to move around, supplementing the blank and static of the picture, and the three people behind them were the other three groups of people and horses, which also filled the gap behind the characters, and at the same time balanced the imbalance of the power of the big barbarian brother.
In the following group fight scenes, basically everyone participates, and everyone uses judo techniques, which also reflects that judo is a false move, a means of conflict between people and handling conflicts.
In this repetitive action of falling and being dropped, Du Dao removes the sound of fighting, strengthens Ah Zheng's solo voice, and slows down the speed of the picture, a poetic expression that makes the fight look less cruel. In fact, in doing so, it strengthens Situ Bao's heart, he is in a panicked situation and wants to escape in the picture, and the fight is just a performance that has nothing to do with him. In the end, Li Yagang's appearance, a strong spatial contrast, made Situ Bao insignificant.
In short, the scene scheduling of this section is very exciting, but it is also inseparable from the application of light.
The bar lights before the fight hit the heads of the four groups of people under the stage, in a scattered state. However, after the start of the fight, many strong beams of small spotlights are particularly conspicuous in the space, which is a situation of confrontation and chaos between various forces.
Let's take another look at the use of light when brother brute questions the three people, when brother brute appears alone in the picture, the lights above his head and in front of him, and the darkness behind him make his image prominent. The lights of the three people are much dimmer in comparison, which is also the result of the power contest.
There are many such lights used in this film, such as Xiao Meng, when Tony first came to apply, the three people talked, and the triangular relationship formed, and a small spotlight appeared above each person's head, emphasizing the position and relationship of the three people.
Speaking of the music of this film, there is a soundtrack, with vocal music.
The use of the soundtrack focuses on the scene of Xiao Meng grabbing money and running on the road, it can be imagined that such a tense scene, but not accompanied by urgent music, but a biased tone, the use of this paragraph is actually to emphasize the trigger of Situ Bao's inner emotions, Xiao Meng's bravery aroused Situ Bao's courage to face life, so the rhythm of the music makes people sound like a feeling of human blood boiling.
The use of vocal music, this part focuses on Ah Zheng's three singing. The first time at the beginning, is a heroic elegy. The second time in the bar group fight, the heart of Situ Bao was emphasized, and he did not dare to face reality with fear. The third time is at the end, showing Situ Bao's positive attitude towards life when he finds the meaning of life.