<h1>One-armed knife</h1>
At the beginning of 1959, a generation of martial arts grandmaster Mr. Jin Yong began the creation of the "Archery Trilogy" "Divine Eagle Hero", and by 1961, the masterpiece was completed in 3 years, and Jin Yong had another pair of most obsessive partners in the jianghu;
Compared with the unswerving love to death, the physical mutilation of the divine eagle Yang Daxia inevitably adds a little regret to the beauty of living and dying together.
The passages in which Guo Fu broke Yang on a rainy night may have become the most bloody chapters in the martial arts classics that focus on the tone of romanticism, and the tragic renderings with full impact and strong sense of picture make all readers feel excited and unable to help themselves.
In addition to hating Guo Fu, an erratic, one-armed hero in the game world was also born;
Perhaps Yang's gloomy soul diluted the blood under the severed arm, but the legend of the one-armed god statue has spread indefinitely until it became the main façade of Hong Kong martial arts movies in the 60s and 70s.
The romantic feelings of "Condor Heroes" are deeply touching
In the 1960s, when the new and old martial arts literature were intertwined, the old jianghu of Cantonese fragments and martial arts films was also rapidly broken due to substantive changes in literature.
In the mid-to-late 1960s, the bloodiness of the boy who lacked in Xiangjiang was compensated for in "One-Armed Knife", and the advent of Zhang Che's masterpiece "One-Armed Knife" in 1967 changed the old-school video world.
Martial arts fans who had been listed in the "Burning Red Lotus Temple" and the "Rulai Divine Palm" series of Peking Opera Xiaosheng for many years were greatly shocked by the broken knife of the one-armed man Wang Yu.
The yang-filled happy jianghu was also unsealed by the "Million Movie", and the real and fierce chivalrous world was also opened.
Compared with the original "Divine Eagle Hero", "One-Armed Knife" adapted by Ni Kuang is more bleak and tragic; fang Xiu's heroism to death sets the main tone for Zhang's painting style.
In "The One-Armed Knife", there is no compromise and submission between the knight and the evil, and the seed of hatred will blossom as long as it is planted; you live and die until you die.
The story source of "One-Armed Knife" is Mr. Jin Yong's "Divine Eagle Hero"
<h1>New one-armed knife</h1>
Relative to the box office popularity of "One-Armed Knife", the successful output of culture has made the classic Hong Kong film history have more unique alternative heroes, shining on the screen and lasting warmth.
Wang Yu also soared with the movie, incarnating as a crippled image spokesperson, acting as a one-armed hero outside jin Yong's world and within the screen circle.
Zhang Che's sequel "One-Armed Sword King" in 69 borrows the yu wei of the previous work to further concretize Wang Yuzhi's superb martial arts and present it in a more comprehensive and detailed way.
In the case of dramatic conflict far less than the previous game, the martial arts design is surprising, and in the late 60s when the Dragon tiger martial artist quickly ascended to the throne, a film martial arts revolution was also integrated in "One-Armed Sword King".
In particular, the exquisite weapon design of the Eight Kings of the Reverse Horn Cottage and the ingenuity of the duel between good and evil techniques provide an excellent blueprint for later martial arts films.
Master Liu Jialiang became one of the main opponents of the One-Armed Sword King
At the time when the first generation of one-armed knife descendants of Wang Yu's eldest brother was in the ascendant, the ranger prodigal son Jiang David's "New One-Armed Knife" added another firewood to Zhang Che's hot blood.
"New Independence" has basically got rid of the shadow of the old one-armed knife, and the plot has started a new stove; compared with the previous work, the spirit shown in "New Independence" in 1971 is more condensed and thick.
Under the dispatch of one breath, the fierce and cruel, cold and slaughtering revenge jianghu is coming head-on, and the ultimate duel between the three knife stream and the three-section stick on the suspension bridge has become an indelible classic paragraph in the history of martial arts films.
Even though the flame of "One-Armed Knife" still had a lingering temperature in Hong Kong in the early 70s, Wang Yu had already made Fang Gangxia's fame resound throughout The Beautiful Island; because of its successful promotion in Taiwan, it was more popular than Shaw Hong Kong, which operated in blockbuster theaters, and followed the wind of filming.
"Female One-Armed Knife" was released in Taiwan in 1970, starring Zhang Qingqing. "Female One-Armed Knife" combines the agility of Shaw's "Golden Swallow" with the forbearance of "One-Armed Knife", and adds taiwan's local aesthetic treatment; this unknown martial arts film has become rigid and soft due to chowder stew, like a ghost god.
The appearance of the one-armed woman may confirm the metaphor of the broken arm Venus, the lack of arms makes the unknown fate mysterious, the heart of forbearance makes the martial arts skills become unlimited, and the pain of the broken arm makes the heart of revenge become deeper than the sea.
The plot of the movie "Female One-Armed Knife" is acceptable, and the fight is clumsy.
<h1>One-armed and two-male</h1>
The lasting effect of the one-armed complex did not end with Wang Yu's departure from Shaw, and after Mr. Wang switched to Jiahe in 1971, the samurai film "One-Armed Sword vs Humpback City" co-produced with Toho made the chivalrous legend of the Central Plains Martial Forest famous overseas and became a powerful force against the Blind Heroes of Japan.
The duel between the one-armed knife and the blind man also opened a precedent for the two males in the other-dimensional world. Wang Yu's short and fierce danger and Katsu Shintaro's fast and accurate death reflected each other, and together they sparked the spark of the sword and light sword shadow.
The mutual fight with Humpback City makes Hong Kong and Taiwan producers seem to see the infinite business opportunities of the coexistence of the two males, the one-armed knife king has become a existence that spans time and space and travels through the universe, since there are two high-quality heroes wang and Jiang who have broken their arms, why not let them appear in the picture frame, the best of both worlds, and good things come in pairs.
In order to fully take care of audiences in both countries, "One-Armed Knife vs. Humpback City" has two versions with different endings
Wang Yu and Jiang David co-starred in "One Armed Two Males" in 1976 in Taiwan. The two generations of one-armed men in the film are as they are, and the foundation is full of emotions.
Under the guidance of the ancient dragon-style plot, the fascinating and interlocking story arrangement has caused layers of waves to the bland murder case, and the movie stars such as Wang Yu, Jiang David, Luo Lie, and Zhang Yi, who thought that they had exhausted their talents in Hong Kong, glowed differently because of "One Arm and Two Heroes".
Wang Yu's cold one-armed knife and Jiang David's prodigal son's one-armed knife are quiet and complementary, and together they create an unexpected masterpiece in their acting careers.
However, 1977's "One-Armed Man vs One-Armed Man" was not as smooth as the previous one, and the quality also plummeted. Wang Yu and another unrelated one-armed boxer, Liu Jiarong, were bluntly stuffed into the same film.
The two masters seem to be about to launch a one-armed duel, but the two deviate from the theme and do their own thing in their respective timelines, and the unrelated plot creates a huge sense of separation in the movie.
The excessive consumption of the one-armed knife is also seen in this film, starting from Wang Yu and ending with Wang Yu.
Looking back at Taiwanese martial arts films in the 1970s today, we can find that the gap between martial arts design and Hong Kong kung fu films is getting worse and worse, and the laxity of the training of dragon and tiger martial artists has caused the martial arts aesthetics to be thrown farther and farther away by Tang Jia, Liu Jialiang and others.
The ornamental gap exacerbates the decline of the box office, and the decline of the box office also promotes the vicious circle of the slump of martial arts films.
Coupled with the blurring and low picture quality of the film source, the "Treasure Island New Martial Arts Movie" that was once with Shaw Company was slowly buried by the times after the 1980s.
<h1>One-armed boxer</h1>
The tribute to the one-armed knife may be far more than the origin series, and the legend of the one-armed sword has been adapted again, this time Wang Yu incarnated as a one-armed boxer who threw away his weapons, and killed the ugliness of the world with only one arm.
After Jiahe suffered a lot of grievances due to the copyright of the one-armed knife and Run Run Shaw's saliva lawsuit, Wang Yu's self-directed "One-Armed Boxer" in 1972 set the background in the Early Minchu, and the fight still followed the old "One-Armed Knife" line.
The cruel scenes, the fight to the death of Fang Xiu, let the long-lost ketchup churn between martial arts movies again, the successful popularity of the movie in Taiwan brought the big brother the belief of self-directing and self-acting, continuing to play the one-armed boxer, and the one-armed man who stood across the heavens and the earth seemed to be back.
In 1975, Wang Yu inserted the martial arts masterpiece "One-Armed Boxer King Big Broken Blood Drop", which is the so-called unintentional willow shade, the strangeness of the character moves in the film, the richness of the Cult wind has created a precedent for similar films, and it has been a super-conventional existence in the one-armed series.
The postmodernist film flower, Ah San, who is good at bone reduction, and the invisible blood droplets that kill people make the temperament of "Alone Blood" extraordinary, and the existence of the group of stands out in the taiwanese martial arts film market that was not shocking at that time has been amazing again and again.
Even today, 40 years later, this fusion godmother film is still the favorite of Western kung fu film lovers and Cult kung fu fans, and has been successfully selected as one of the top 50 greatest kung fu films in total film history.
The internationalization route of "One-Armed Boxer Big Broken Blood Drop" is clearly revealed
After the one-armed legend about Wang Yu underwent a farcical deconstruction of Zhang Fei's beating of Yue Fei, the 1979 "One-Armed Boxer King Brave battle Truman Nine Sons" ridiculed the ancient dragons and other heroes; unexpectedly, the director of this film was Xu Zenghong, an old driver of the old school of traditional martial arts.
The one-armed boxer King Liu defeated Lu Xiaofeng, Meng Xing soul, Li Xunhuan, Xiao Shiyilang, Xie Xiaofeng, Chu Liuxiang and other ancient dragon heroes on the road of pursuing the murderer with one hand, and the wind of spoofing was unprecedented.
And a serious nonsense is particularly eye-catching in the same kind of martial arts comedy, Wang Yu's cold temperament with an unbridled plot makes this rare movie look thick, brave and cute and fearless, setting a precedent for the 80s spoof martial arts comedy "Owl".
The end of "Truman's Nine Sons" at the end of the 70s also announced the complete end of the one-armed era of Wang Yu and Jiang David. The big IP of the one-armed series of movies has exhausted all the potential that can be tapped.
The tireless adaptation and continuation have exhausted the oil of this crippled chivalrous guest, and then the one-armed knife in the jianghu for many years of silence may have been taken for granted. It was not until the separate appearance of Li Rengang and Xu Ke's remake in the mid-1990s that the long-held history of martial arts was unveiled.
<h1>Get lost</h1>
Old Hong Kong film fan Li Rengang has a special love for "One-Armed Knife", of course, the retrospective of Hong Kong films can never avoid "One-Armed Knife". Released in 1994, "The Love of the One-Armed Knife" brought the classics of the past back to life 27 years later.
In particular, the orientation of the title of the film is more to see the endless feelings of the gushing river and water that pays tribute to the original work; coupled with the joining of the old drama bone uncle, it adds a bit of emotional chips.
Compared with Zhang Che's masculine aesthetic construction, Li Rengang's new one-armed knife downplays the dramatic conflicts caused by the revenge of the door sect, and builds a story structure in the early Minchu to pin a lot of time and entertainment on the love of children.
The unsmooth editing makes the fight want to stop talking, not to be plagued.
The unique combination of light and shadow seems to make people feel the murderous qi left by Zhang Che, and the male hormones that are helpless to flourish are placed aside due to the aging appearance of the three protagonists.
The long-lost one-handedness of "One-Armed Knife" was not revealed until the following year in Xu Ke's "Knife".
The light and shadow layout of "94 One-Armed Knife Love" is unique
Zhao Wenzhuo, who was once known as Jet Li's successor, was completely transformed into a strange hero who slashed enemies and had a broken knife, broken arm, and broken knife spectrum in Xu Ke's "Knife".
The fierceness of "Knife" from the inside out is something that no other movie has ever seen in any previous movie, and the black-and-white upside-down jianghu, the frequent appearance of amputations and broken arms, the representation of realism and the tragic magnificence of the yellow sand expand the sense of subversion and loss of control of an orderly chaotic jianghu.
In the martial arts world of lack of human nature and animal nature, the cruel hunting between people has become the most advantageous spear for survival; in the decisive battle between Ding'an and the flying dragon, the visual impact brought by the monster through rapid camera capture can be described as fierce and deadly, just like the sharp knife cutting the face and inching into the bone.
In addition to inheriting the fierceness and fierceness of old-school martial arts films, the characteristics of Oriental Westerns are also properly integrated into it to further highlight the tragic feelings of classical Chinese chivalry.
If "94 One-Armed Knife" has the shape of Zhang Che, then "The Knife" has zhang Che's essence, and its determination is still shocking today.
The fierce battle of "Knife" can be described as earth-shattering, and the clouds of sorrow are dim
Helplessly, the tribute to the one-armed knife is in the mid-90s of the decline of Hong Kong films, and after the works of the two famous directors fell into the sand at the box office, the classic remake was once again stranded on the beach for many years; but the legend of the one-armed knife on the rivers and lakes is still endless and continuous.
In 2011, Chen Kexin's film "Wuxia" re-polished and tempered the broken arm complex, and invited Mr. Wang Yu to come out of the mountain to help, and the torch was officially passed on by the old predecessor to take over the baton of the middle generation of famous hero Zhen Zidan.
And the moment when Zhen Zidan breaks his wrist at the end of the film is more like the bloody return of Hong Kong martial arts movies, striding forward along the masculine road paved 45 years ago.