In 1992, Wu Yusen made a prequel to "Infernal Affairs", but Liang Chaowei refused the Academy Award 1, Liang Chaowei refused the Academy Award, because he was also the protagonist 2, "Infernal Affairs" prequel 3, the longest night in the history of Hong Kong film gunfight 4, commemorating the Yunlai Tea House 5, commemorating the screenwriter genius Wong Bingyao 6, and the singing of violent aesthetics

After Wu Yusen's first entrepreneurial work "Blood Street" suffered a box office fiasco, he used the more commercial film "Across the Sea" to win back a city. But "Across the Sea" is actually quite different from his unique style, and the aesthetic of violence is still his favorite. A year later, in 1992, Wu Yusen returned with "Hot Hand Detective" and found the best balance between art and business.

This is also his last report card before going to Hollywood, "Hot Hand Detective", although it is a rare Wu film without a church and no white pigeon, it is a masterpiece of Wu Yusen's style.

<h1 class= "pgc-h-arrow-right" >1, Liang Chaowei rejected the Academy Award because he was also the protagonist</h1>

In the film, Liang Chaowei has a highlight of acting skills, that is, the scene that killed Uncle Hai, and at the Academy Awards of that year, Liang Chaowei was also nominated for the best supporting actor. This is not the design of the script, it is Wu Yusen who let Liang Chaowei play freely, and the origin is that Liang Chaowei is not satisfied with a scene in "Blood Street" and asks for it in order to make up for it. The inner struggle of killing his most beloved person is difficult to set in words, so he also saw his most classic emotional inner drama in the movie.

Although most male stars will automatically become supporting actors when they meet Zhou Runfa, Liang Chaowei believes that his role should be nominated for male lead, announcing that he will not receive supporting actor awards from now on, before which he has won the best supporting actor 2 times. Both Wu Yusen and Zhou Runfa supported him, and the Academy Awards changed the nomination system since then.

Fa Ge rarely plays a policeman in Wu Yusen's films, especially a good policeman who is just. The undercover policeman played by Liang Chaowei is more naturally rich, and on the one hand, he is conscientious and has feelings for Uncle Hai on the other hand. People in the rivers and lakes, involuntarily, like a bird of fright, always worry about being killed by their colleagues by mistake.

The characters are also full of romanticism, driving a sports car and living in a yacht, but the boat is full of paper cranes.

Zhou Runfa: You are very lonely, so you need so many paper cranes to accompany you?

Liang Chaowei: The most annoying thing I grew up is the origami crane, because every time I kill a person, I fold one, do you like it? I fold one for you?

Zhou Runfa: But when you die, who folded one for you?

Liang Chaowei naturally did not think about this problem, because when they entered the arsenal, Liang Chaowei directly closed the door and said, "I didn't think about going out." ”

Zhou Runfa and Liang Chaowei were trapped in the arsenal, and they actually had little time to talk about their ideals.

"I want to go to the North Pole in the future, because I heard that there is sunshine there 24 hours a day."

"I want to be a good cop. But they have to kill so many people. ”

"I wanted to be a musician, and now I'm not doing that. The world is so ridiculous. ”

At the end of the film, Liang Chaowei says "I am also a policeman" and prepares to sacrifice himself.

In the end, Zhou Runfa and his boss burned Ah Lang's file.

The last scene in the film shows Ah Lang standing on a sailboat, plastered and throwing a paper crane into the sea. I wonder if this is Ah Lang still alive, on the way to Iceland to live a 24-hour life of seeing the light, or Chow Yun-fat's fantasy?

<h1 class = "pgc-h-arrow-right" >2, "Infernal Affairs" prequel</h1>

The lighter that the boss gave to Liang Chaowei on the roof became the key prop of the movie. The setting of the undercover detective can be described as a lifesaver for the police film. After "Hot Hand Detective", this type of undercover character was deeply cultivated by Du Qifeng and others a few years later, and almost formed a genre.

10 years later, in 2002, Liang Chaowei met his boss on the rooftop in "Infernal Affairs", or only his boss in the world knew the identity of his undercover, the boss gave him a birthday gift, or forgot his birthday, talked about life after retirement. Finally, Liang Chaowei also said: I am a policeman.

Ten years ago, Liang Chaowei accidentally killed a police colleague at the entrance of the elevator. Ten years later, undercover police officer Liang Chaowei was shot dead by his fellow police officers at the elevator entrance. It is not an exaggeration to say that "Hot Hand Detective" is a prequel to "Infernal Affairs".

<h1 class = "pgc-h-arrow-right" >3, the longest night in the history of Hong Kong film shootouts</h1>

The gun battle at the end of the film, which lasts forty minutes, is full of excitement and is a big stroke of Wu Yusen's style.

In this protracted gunfight in "Hot Hands", there is a famous long shot. Zhou Runfa and Liang Chaowei killed from the third floor to the fourth floor, the process was that Liang Chaowei accidentally killed his colleague at the elevator entrance on the third floor, and the two entered the elevator and left the fourth floor.

But in fact, this is filmed on the same floor, it is a long shot: when Zhou Runfa and Liang Chaowei sat in the elevator, the elevator did not move at all, and in just thirty seconds, the field workers outside the elevator frantically cleaned and modified, turning the third floor into the fourth floor.

The film costs 100,000 pounds of gunpowder and more than a million Hong Kong dollars. It is said that at the end, Wu Yusen set up a lot of explosives in order to pursue the truth. The demolition team was afraid that the power was too great, so they had to secretly reflect with the producer. In the end, the amount of explosives was reduced to 25% of the original plan, but almost the entire building collapsed.

When Zhou Runfa rushed out of the building with the baby in her arms, she did not tell Zhou Runfa about the explosion point arranged in the corridor. At that time, Fa Ge's panicked expression was his original reaction, scared to lose the gun.

<h1 class="pgc-h-arrow-right" >4, commemorating the Yunlai Tea House</h1>

As Wu Yusen's last Hong Kong film before he decided to go to Hollywood, Wu Yusen naturally wanted to shoot everything, wanted to commemorate everything, and wanted to stay everything.

The first scene of the film is a gunfight at the Yunlai Tea House, which is a temporary addition to the director. This tea house is very famous, is a frequent shop for directors and screenwriters, etc., and has a history of more than 100 years. Because it was about to be demolished, they discussed taking a scene before demolishing the building.

The tea house is full of diners walking birds with bird cages, and Hong Kong's unique civic flavor environment is well created. Close-ups of panicked birds in cages are also given to create an atmosphere during the war. Because Wu Yusen came to shoot before he finished the script, there were very few lines in the whole scene, all of which were gunfights.

It is said that at that time, nearby residents complained to the police that the crew was noisy, but there were more fans of Wu Yusen among the nearby police, so they refused to enforce the law and let Wu Yusen continue filming.

<h1 class= "pgc-h-arrow-right" >5, commemorating the screenwriter genius Wong Ping Yao</h1>

It's hard not to notice a name at the beginning and end of the film — Wong Byung-yiu. "Deadly Scissor Foot" Wong Ping-yiu is a famous screenwriter in Hong Kong in the 1980s and 1990s, and has also played many supporting roles. Regrettably, during the filming of "Hot Hands", he died of a heart attack while looking for inspiration in Germany.

"Baby" is Wong BingYao's idea, an element that adds a touch of humor to the work and the male hormones. "Baby" replaces Wu Yusen's "white dove" in the past, symbolizing hope and peace.

Liu Zhenwei, director of "Journey to the West", commented on him: "This screenwriter is a genius, he is a genius, and if the film dealer has 180 movies a year, 90 are his." He influenced the entire Hong Kong film industry. In addition, his death directly promoted the establishment of the Hong Kong Film Writers Association.

<h1 class = "pgc-h-arrow-right" >6, the absolute song of violent aesthetics</h1>

From 1986's "The True Colors of Heroes" to lay the personal style of violent aesthetics, Wu Yusen only has 6 works in Hong Kong, which has laid a special position in the film industry in Hong Kong and even the world.

In 1993, Wu Yusen landed in Hollywood and made the famous "Change of Face" and "Mission Impossible 2". Until the return to Hong Kong from Hollywood in 2006, the Hong Kong film industry at this time has long ceased to be brilliant.

Many people have noticed that there is a powerful character Guo Chai in "Hot Hand Detective": the one-eyed dragon who dueled with Zhou Runfa Liang Chaowei, who was the apprentice of the martial arts master Zhang Che and was also Wu Yusen's disciple.

In the film, Wu Yusen gave him a dashing shot, tilting his head to light a cigarette with a burning car.

He was a moral killer: "I never befriend two kinds of people, one is the police, the other is the person who betrays his boss, you kill your boss, you don't pay attention to morality." "He and his boss were arguing in the hospital about whether they should take the patient as hostages, so he was finally headshot by his boss.

He may be the refraction of the jianghu in Wu Yusen's heart, the close-up shot of the eyes scattered, and it is also the jianghu in Wu Yusen's heart. His violent aesthetics also had nowhere to go, and "Hot Hand Detective" became his last song in the Hong Kong film industry. (Reported by: Mankei Wu)