The Hong Kong action/thriller/suspense film "The Great Hunt", released in 2012, directed by Chow Hsien Yang and written by Du Zhilang and Chow Hsien Yang, tells the story of a policeman and a murderer Bo Feng, Wang Yuanyang played by Zhang Jiahui is related to two murders more than 20 years apart, and ren Dahua is responsible for finding evidence to arrest him.
Zhou Xianyang (Infringement Notice Deleted)
In 2010, Chen Qingjia directed a small-budget film "Human Comedy", which is very self-deprecating about the style of Hong Kong films, and the title of the killer's name in the opening, from "the sun, the sun, the sunset", is clearly a metaphor for the current situation of Hong Kong films.
In "The Great Hunt", Zhang Jiahui plays the wanted murderer, named "Wang Yuanyang", I don't know if it predicts whether the future Hong Kong movies will be farther or closer, "The Great Hunt" is like a fable of Hong Kong movies. The return of culture in 1997, the outbreak of the Asian financial storm, the loss of overseas markets, Hong Kong films began to struggle to survive in the cracks between self-following rough production, rampant piracy, and Hollywood's large-scale invasion, so that now they are struggling in the mud of the trough, seemingly self-destructive, and mutual suspicion between the audience, the market and capital. Not only that, the backbone filmmakers go north to shoot films, the new generation is not picked up, no one has taken over the banner of the previous generation, the most fatal thing is the collapse of the set system, resulting in new directors, screenwriters, behind-the-scenes and new actors can not get the necessary experience and connections, Xu Anhua, Du Qifeng, Peng Haoxiang, etc. are either small circles, or small production, small volume, difficult to inherit, almost speechless, as if Wang Yuanyang observed the audience after he was released from prison, trying to watch the market, but was often misunderstood.
Zhou Xianyang's previous resume only had one work, "The Murderer", but it attracted much attention because of its prominent violent images, and its unique style won the love of a large number of fans. Under the careful tutelage of him and du Zhilang, the screenwriter of this film, this "Great Hunt", formerly known as "Murderer 2", also reflects the inner description of the characters through violent scenes and tense reasoning step by step, through a large number of details and dialogue and even the facial expressions of the characters. There is also the seemingly happy ending in the film, which is actually full of endless sadness, and Zhou Xianyang's portrayal of the situation of small people in the big environment is commendable. Both film images and narratives are intentionally unbalanced and exaggerated, and there is no special one.
This intention, of course, can also be said to be not a mature use of technology, compared with the Coen brothers' film noir can be found. In "The Great Hunt", Zhang Jiahui can be said to have made a comprehensive dedication from form to film skills, full of muscle strength of the body and untamed eyes, appropriately interpreting the inner world of Wang Yuanyang's character, a good actor can also bring people a shock to the soul even if he does not use language. Age, for some, represents ageing, but for others it represents experience, representing the limits of craftsmanship. For Ren Dahua, it seems that it is only time to grow old, and the vitality of life and the enthusiasm for life have never faded.
Zhou Xianyang pulled the heroes or supermen in the police film off the horse, so that they fell off the altar and restored them to humble little people, and also made this work more critical realism, less entertaining, more serious, providing a new choice direction for the later Hong Kong police films that are constantly changing. Seeing a nearly sixty-year-old climb up and down like a forty-year-old person, wind and fire, and fight against Zhang Jiahui, you will understand what can make people most moved.
Ren Dahua and Zhang Jiahui do not know that the old age is coming, coupled with the persistence of Andy Lau, Leung Chao-wai, Li Ming, Aaron Kwok, compared with Dillon, Jiang David, Xie Xian and other predecessors, it can be said that the Yangtze River is pushing forward the wave, this generation is always on the cusp of the wave, and it is also the sadness of Hong Kong movies.
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