Preach in words. - Don Tears
The topic looks complicated.
Because the question of acting skills is often stuck at the level of argument.
But if you have a certain degree of understanding of acting problems and have the patience to understand the work, it will be very simple.
So we will take the four representative works one by one to analyze the correspondence.
Not only the awards, not only the box office, everything depends on the work and character creation.
And all four of them have a lot of masterpieces.
Or you can also have the right to review and appreciate the film works of the King of Heaven.
Also good value for money.
Jacky Cheung does not have a novice period.
This was his greatest advantage over the other three Heavenly Kings.
However, the lack of stardom is a great disadvantage, making it difficult for him to meet the outstanding script, so the supporting drama has become the norm.
Therefore, from his first film "Thunderbolt Horn" until 1996 announced the end of the film, although he participated in as many as 56 films, there were few works with him as the main and influential, at most it was a two-male structure.
For example, there are two or multiple lords of "Best Son-in-Law", "Curry Pepper", "Blood Street", "East into the West" and "East Evil and West Poison", accompanied by "Eight Star Annunciation", "Mong Kok Carmen", "Ah Fei Zheng Biography", "Laughing Proud of the Jianghu" and "Huang Feihong", "Rats and Dragons", and the main personal force is only "The Legend of the Prince", "The New Marginal Man" and "Very Detective".
Although "Carmen of Mong Kok" and "Laughing Pride" helped him win a Golden Horse Award and an Academy Award for Best Supporting Actor respectively, his best achievement at this stage was the performance in "Blood Street", and he was also nominated for the Golden Film Emperor for the first time.
Hui Zai, who is heavy on love and righteousness, under the big hands of fate, the ending is sad and sad, Jacky Cheung in this movie, the tension and explosiveness of the performance even won over Liang Chaowei, who was praised for his outstanding talent as soon as he debuted, which is indeed impressive.
I remember an interview about the kind of performance with shrapnel in the head, he said that everyone didn't know how to act in this situation, so they played on their own. This shows that its imagination and creativity can not be underestimated, in commercial films, only the combination of a brief script and a galloping imagination can have a wonderful performance, no one is an exception.
However, the second nomination of the golden statue male protagonist's work "New Marginal Man" is very ordinary, losing its amazing creativity.
Therefore, at this stage, the supporting is wonderful, and the main actor plays ordinary is his characteristic.
At the same time, look at the other three heavenly kings.
Andy Lau, who debuted five years earlier than Jacky Cheung, spent about five years out of the novice period.
His protagonist yun is particularly strong, most of them as the protagonist, but as of 1996, of the 86 works he has participated in, if strictly selected, or only four films, "The Inside of the Law", "Heavenly Love", "Half a Billion Inspector Leiluo Biography" and "Chariot of Fire", performed well.
His problem is mainly to take over a large number of commercial films with converging scripts, homogenizing with performances, but his acting skills have been above the passing line since 1986.
Dawn ran the dragon set very early in the movie, such as the passerby in the two shots in 1985's "I Do", and the dragon set in 1986's "Piglet Out", but most of them counted this as his debut. But since then, there has been no opportunity for the main force, and even on the eve of the kingship, he is still starring in the group drama movie "YES Family", but from this movie, he has entered the qualified period of commercial actors.
Therefore, Dawn typically ascended to the film world as a heavenly king, and only after being crowned king did he gradually begin to play the leading role.
He participated in 25 films at this stage, but 12 of them belonged to the dragon set or cameo, so strictly speaking, there were only 13 protagonist films, with the quality of "Urban Love", "Fallen Angel" and "Sweet Honey" as the best.
Aaron Kwok was the last king to enter the film industry.
The place where he is better than Dawn is to start his big screen career with supporting roles instead of dragon sets, and the initial performance mode is also a TVB-style template, that is, he is out of shape, qualified performance but not outstanding, and the sixth film of his debut began to have a stunning performance, that is, with the Silver Fox role of "91 Divine Eagle Heroes", he was nominated for the Academy Award for Best Supporting Actor.
The following year, he began to play the main role, and participated in a total of 20 films in this stage, including 12 personal protagonists, with "Accompanying Me", "Barefoot Boy" and "Romantic Storm" as the best.
Let's take the first stage.
Jacky Cheung took the lead in getting the affirmation of the Golden Horse Award and the Academy Awards, and also showed excellent creativity, but the shortcomings are also obvious, the supporting role is splashed, once the main force takes on the embarrassing task, in addition to the bursting genre of "The Legend of the Prince", other films are lackluster, and from another point of view, its performance in commercial films is not irreplaceable.
Andy Lau at this stage is mainly the polishing of personal characteristics, different from other actors into the film, he is the personal role of the film to mark their own brand, there is a little similar to the practice of commercial brand building, but the yield rate is relatively low, win the box office more than the actor's reputation, the strongest of the four, the film remuneration is far ahead.
Dawn shows a high degree of adaptability to tailor-made literary and art genre films, and given that the quality of literary and artistic works is generally higher than that of ordinary commercial films, the quality measurement can leap to the first place, but commercial films are its weaknesses, and the coffee position is slightly weaker than Jacky Cheung.
Aaron Kwok has gradually shown the advantages of action movies, the above-mentioned "Barefoot Kid" and "Romantic Storm", which are particularly prominent in action scenes, are not comparable to ordinary commercial actors, and their acting performances can also be remarkable, so after "Romantic Storm", he was photographed by the top management of Jiahe Film, and wanted to cultivate him as a new generation of action superstars after Jackie Chan.
From this point of view, it can be concluded that in the early commercial genre films, Jacky Cheung's acting performance is slightly brighter than that of the other three, but he lacks irreplaceability, but the other three masterpieces are irreplaceable on character shaping. If you compare the strongest works, in fact, it can also be understood that the four people are equally divided and each is good at winning.
In 2001, Jacky Cheung took over Xu Anhua's "Man Forty" and announced his comeback.
This film is considered to be Jacky Cheung's closest work to the Golden Statue Emperor, adhering to the "New Marginal Man" route before the film, in addition to his own micro-expression, other things in the past performances are almost thrown away, but he gives people the feeling that the song god Jacky Cheung temporarily transferred to become a language teacher, the result is that there are many details, but there is no deeper touch.
Or it can also be understood in this way, there is no problem at the technical level, but there is a lack of in-depth understanding of the character, so there is no way to resonate with the character and empathize, falling in the eyes of the audience, it is bound to be invisible.
Aaron Kwok has only made six films in five years, four of which were in 2000 and 2001, at this stage his acting skills did not advance and retreat, only Jiahe's large-scale production "The World dominated the world" for him can be listed as a masterpiece, bu fengyun character shaping is outstanding, can be one of the classic roles in Hong Kong film history.
Dawn continues to present a state of good literary and artistic works and weak commercial performances, with literary and artistic genres such as "Half-Life", "City of Glass" and "Love at First Sight", and only one commercial film, Du Qifeng's work "True Heart Hero", is outstanding.
Andy Lau gradually entered a better state at this stage, handed over the three best films of "Dragon on the Edge", "Dark War" and "A Hu", and entered the peak period of the commercial film field, the naturalness of the performance has been perfect, combined with personal signature performance, it is almost impossible to criticize in the perspective of commercial performance.
So this stage is still an old problem, in addition to Aaron Kwok entering the confused period of retreat, if you put aside the homogenization of performance, Andy Lau and Li Ming have found a way to adapt to their own performance, the single technique is not more intelligent than who, and irreplaceability is still the weakness of the god of song.
In the years that followed.
Jacky Cheung has a very small number of films, and the high-quality works include "Golden Rooster 2", "Jianghu", "If Love", "Full Moon Hennessy", "Dark Heaven" and "Equator", and the yield rate is relatively high.
Andy Lau has been running wild in commercial films, but strictly speaking, the real high-quality ones are only "Infernal Affairs", "Big Guy", and "Disciple", in addition to the performance of "Sister Peach".
After Dawn's "Three Changes Homecoming", the acting performance was solidified day by day, and after "Mei Lanfang", it declined all the way, until it finally lost the ability to create characters, and after "Grab the Red", it completely faded out of the big screen.
Aaron Kwok began to turn the situation around from the "Judo Dragon and Tiger List", and then ran wildly, taking the difficulty of the role as the standard for the film, and his acting skills improved day by day.
In the past two thousand years, he handed over three masterpieces of "Three Forks", "Father and Son" and "Murderer", and then more commercial and literary and artistic lines, commercial films such as "Cold War", "Peerless" and "Journey to the West: Sun Wukong Three Dozen White Bone Essence", literary and artistic niches include "Favorite", "Floating City Years" and "Blood Seeking Plums" and "Mai Luren".
In terms of skill alone.
Jacky Cheung, whose traces are getting fainter and weaker, has become blameless, and the performance has become more and more integrated.
Andy Lau eliminates the problem of performance homogenization and also practices nature.
While maintaining emotional explosiveness and performance tension, Aaron Kwok has also reached a state of pure fire, and each role is never repeated.
The peak of dawn may be in 2002's "Three Changes Homecoming".
So finally back to the question of the title.
Who has the strongest acting ability of the four?
In addition to the basic skill level of acting ability, the competition is the ability to shape the character.
It also includes the resonance and empathy with the character mentioned above, and the most intuitive measure of this performance is the irreplaceability of the performance, which is also the most important basis for the major awards ceremonies.
Of course, the four of them have their own strengths.
But seriously speaking, Jacky Cheung lost in the in-depth role ability and gave up the choice of early experience, Andy Lau lost in the repetition rate, homogenization and emotional release ability of the performance, and Dawn failed to maintain the early advantage but fell early.
Therefore, the only king who has truly reached the peak of the Acting School in the Hong Kong film industry is Aaron Kwok, who is also one of the few actors in the Hong Kong film industry who can span both business and literature.
Skill is only a foundational factor, and comprehension, imagination and creativity are the cornerstones of an actor's abilities.
For example, the performance of the "burning painting" section in "Peerless" can be called a challenge for no one.
The other is the eye drama, just take the performance of "The Favorite" laughing and crying, the entire Hong Kong film industry except Leung Chaowei, do not think of the second person.
This is a testament to the ability to create.
Other examples do not need to be repeated, if you know the work and know how to analyze it, you will naturally understand.
So try to argue that "acting is the strongest" problem, please talk about the work and performance.
This is conclusive evidence.