"Fury Serious Case" scored well after its release, and currently maintains a high score of about 7.8, which should be one of the top scores among the many films directed by Chen Musheng.
As Chen Musheng's posthumous work, fans naturally have some selfishness, trying to score high scores, even if it is to give director Chen Musheng an explanation, but also to show themselves so many years of Hong Kong police films a summary.
"Fury , Serious Case" is good-looking, but there are still many problems with Hong Kong films, the script is shoddy and the characters are functional, and various traces of not being delicate enough are still obvious.
But once the film returns to the action scenes that Chen Musheng is good at, everything becomes "alive and well".
Chen Musheng has always wanted to make his own action blockbusters, and he wants to prove that as long as Hong Kong filmmakers get a good budget, they can make Hollywood-quality blockbusters.
He has been deeply involved in the field of action films and has also trained many filmmakers.
He has the most handsome Andy Lau in his films. The scene of "Heavenly Love" has been imitated and paid tribute to by countless movies.
Ignited the motorcycle dreams of generations of teenagers.
There is the most "wei" Jackie Chan in his movie, and the "earth-shattering" that shocked the world in "Who Am I".
Even Brother Tang couldn't help but pay tribute in "Mission Impossible".
As one of the main actors of "Fury", Nicholas Tse was carefully cultivated by Chen Musheng many years ago: I began to shoot with the director at the age of 19. He was the one who let me know that I could go down the path of action movies.
In that scene, Chen Musheng asked Xie Tingfeng to "escape" from a 40-story high-rise building using a slide rail, and this difficult and dangerous scene was filmed more than a dozen times at a time.
In addition, he also helped Wu Mengda, Jackie Chan, Wu Yanzu, Aaron Kwok and others to get their own honors, but he himself has been nominated many times, and so far there has been no grain.
I have to say that this is a big regret for Chen Musheng. His obsession with action movies and explosion scenes has influenced the play of literary drama, although he has repeatedly presented the "death struggle of consciousness", but only stays in the traditional two-male mode, unable to go deep into the dark jungle of human nature.
In the West, there are "explosive shells" (Michael Bay), and in the East there are "explosive victories" (Chen Musheng).
In "The True Colors of Boys", he "blew up" Central Plaza.
In "Two Males", the real car is blown up like a toy.
100 million yuan smashed out the "special effects blockbuster" "City Alert", and the explosion scene was so many that Aaron Kwok, who was strong at the time, was "powerless".
"Fury Case" is no exception, from grenades breaking through the encirclement, to pulse-controlled neck explosive devices, and a large-scale explosion scene on an entire floor, all of which are made of standard "Chen Musheng".
There are two action "essence" passages in the whole film: the climax of the second act, zhang Chongbang (Zhen Zidan), the inspector of the major crime team, enters a complex scene similar to the "Kowloon City Walled City" alone. The pinnacle of similar passages can be traced back to Ma Dangxiong's "Provincial Hong Kong Flag Soldier", and a little closer is Wang Jing's "Chasing the Dragon".
Coincidentally, in both films, Zhen Zidan contributed a "superman" performance. He needed to move up and down in the narrow indoor space, between the sloped roof and the laneways in the city, in order to chase the prisoners, and even through the wooden walls, the movement was difficult and dangerous.
It is worth mentioning that the action scenes of the whole film rely less on editing, the pursuit of "fist to flesh", "real gun hard work", the actors also have to withstand the close-up of the magnification "scanning", this "sense of reality" greatly enhances the texture of the film, the gorgeousness of the action scenes and the sense of strength have been visible to the naked eye.
The second highlight is the street fight at the climax of the film. With past police experience, well-trained Qiu Gang'ao (Played by Nicholas Tse) and his former partner, a group of people cooperate with each other, and break through layers under the police siege.
The camera scheduling of this scene is a great test of the director's skill, from the large panorama to the local close-up, the movement of the lens, as well as the design of the explosion scene, the control of the sense of rhythm, and ultimately affect the fluency and shock of the whole scene.
When Zhen Zidan picked up the gun and stepped on the hood of the car, presumably veteran fans could clearly identify some of the shots that paid tribute to "Heat". Even the fierceness of Zhen Zidan's character is similar to Al Pacino in "The Line of Fire".
However, the final close-quarters fighting scene in the whole film, because of the influence of Xie Tingfeng, whose kung fu foundation cannot be equal to Zhen Zidan's, the degree of excitement can never be compared with Zhen Zidan and Zou Zhaolong's "Fuse" or Wu Jing's "Kill the Wolf", and it is even less interesting to play against "masters" such as Zhen Zidan and Hong Jinbao.
There are not many regrets in the action scenes, "Fury Case" is worthy of such investment, and the film effect is also extremely eye-catching, which is definitely worth the ticket price in this summer slot.
But Director Chen's dream of catching up with Hollywood is still a little bit worse, not in the action scenes, or in the cost of investment and explosion effects, but less in the gray area of good and evil.
There's a very interesting, but untracement, part of Fury: Choice and Destiny.
The blackened Gang Ao finally sighed, if you and I were to change tasks that day, would our endings be very different.
This is a very interesting gray area, but the film defines the role of Zhen Zidan from the beginning: the embodiment of absolute justice, in the face of the temptation of money and power, he can stand still, and he has no room for differentiation in the gap between good and evil, true and false.
In contrast, nicholas Tse's character is clearly more real and more sympathetic to the audience.
The functional traces of the characters are too heavy, which seriously weakens the depth of "Fury Case" and loses the place that makes the audience reminisce.
In "In the Line of Fire", both the police and the criminal have a multi-dimensional personality. Detectives may have a burst of personality, be rude and evasive in the face of feelings. On the contrary, criminals are very attractive, calm and composed, and it is easier to treat feelings with their hearts, and even violate principles for this reason.
Director Michael Mann, like Chen Musheng, is a stubborn old man who is obsessed with shooting police genre films.
The story of "The Line of Fire" is also a two-male routine of the duel between good and evil, which has been everywhere in Hong Kong films, but Michael Mann has made this routine a breathtaking epic temperament.
He will definitely pull the dramatic tension to the limits that the character can bear, leaving no leftovers, while not allowing it to break. The limit of that pressure was as precise as a scientific experiment.
Therefore, the two male mode of "Thief of Fire" is not only conflicting and contradictory, but also a kind of sympathetic recognition, and the most evil enemy and his opponent form a strange relationship of brotherhood.
This connection in conflict, this irreconcilable killing and love, transforms the two into a contest of Hegel's "absolute spirit", interpreting the most advanced adventurous spirit in the police genre film.
At the end of the film, they all have to admit that they are actually "the same kind of people".
Their conflict is not an absolute antagonistic relationship, but a kind of attraction that brings them closer together. But as absolute spirits, they all have absolute humanity, they will not give up on themselves, they will all go all the way to black.
At the end of the film, the competition was divided, but there was no win or loss. At the time of the opponent's death, the surviving people did not leave, but clenched the opponent's hand.
Those who survive will face endless emptiness.
At the end of the story, no kisses, but a handshake!
This cognitive height beyond the traditional double male police films has made "The Line of Fire" a generation of classics. At the end of "Fury Case", one person chooses to turn his back on his former companion and leaves, and one person chooses to self-destruct.
This is the gap and difference between "Fury Case" and "Line of Fire".
We can taste real life from every character in "Thief of Fire" and find a resonant moment in the depths of our hearts.
And the characters in "Fury Case" may be forgotten, because we have never been able to enter their inner world, and too much emphasis on functionality has made them blurred and less ordinary people's flesh and blood.
Director Chen has paid a lot for Hong Kong action movies and promoted the development of Hong Kong-style blockbusters, but for various reasons, he has never reached the peak, and for the 58-year-old, the biggest regret should be time.