Preach in words. - Don Tears
Don't get me wrong.
Here, the "king of commercial films" does not refer to the number of commercial films, nor does it refer to the box office of the film alone.
It refers to the situation that the box office and word of mouth fly together, and the acting performance is also excellent.
And only for commercial genre films.
It has nothing to do with literature and art.
Based on such criteria, Bi-Weekly Cheng Li is bound to be included.
An action master, a kung fu emperor, an aura master, and a comedy master.
In the most glorious years of Hong Kong cinema, the three most dominant commercial genres were propped up by the four of them.
And when the prestige reached its peak, three of them invariably turned to Hollywood.
Leave Zhou Xingchi alone to support the overall situation.
Look back at the box office data of the decade from 1990 to 1999.
Stephen Chow rose like a "super tornado", winning four consecutive championships and breaking four box office records, with 24 box office top ten.
Jackie Chan lost five years in a row in 1990, and in 1995 with "Red Fan District", won the annual championship and broke two records for three consecutive years, 1998's "Who Am I" lost to "The World dominated the world", but the same year's "Rush Hour" North American box office reached $140 million, pushing him to the position of Hollywood's first-line action superstar.
Chow Yun-fat, who won the annual title in 1994 with God of Gamblers 2 and broke the box office record previously set by Stephen Chow, went to Hollywood after filming "Peace Hotel" in 1995.
Jet Li again, in 1991 officially developed in Hong Kong, in the past ten years under the pressure of the double Mondays failed to win the annual championship, so when it comes to the Hong Kong film industry in the 1990s, he is slightly inferior.
In addition to the four people, there are roughly a few people who can be on the list, such as Zhang Guorong, Andy Lau, Aaron Kwok, Liang Chaowei, and Zheng Yijian.
After entering the 2,000 years, Zhang Guorong suddenly fell in 2003.
Zheng Yijian quickly slid into the trough.
Aaron Kwok gradually rose up with the rapid improvement of his acting ability after a short period of confusion.
Liang Chaowei and Andy Lau quickly filled the vacancy after Cheng Zhou and Li left, concealing the appearance of a superstar.
In terms of Hollywood, Cheng Li is quite equal, and Chow Yun Fat is getting darker and darker.
But when they return to the Chinese film industry, they are still at their peak, and Jet Li's reputation has risen sharply compared with that day.
Time is far away.
Bi-zhou cheng li faded away.
And Aaron Kwok, Andy Lau and Leung Chao-wai raised the Hong Kong Film Banner.
Many people may ask questions.
For example, the late action superstar Zhen Zidan, the "movie tycoon" Gu Tianle, the former "Wengu Wuzhen", should also be the façade of Hong Kong movies, why shouldn't they be included?
As far as the type of action kung fu is concerned, although Zhen Zidan has won the annual crown twice with the "Ip Man" series, his acting performance and box office dominance are too far behind Li duo, Gu Tianle's film quality is only in the middle and below, and he does not even have a yearly crown in his hand, whether it is talking about data, or talking about quality or acting, he has no confidence to compete with Guo Liuliang.
So it's a seven-man battle.
And this can be seen from the data listed above.
If we talk about the box office dominance of the Hong Kong region alone, the double Monday is the ceiling so far.
They ruled the late eighties and throughout the nineties.
In terms of acting skills, Jackie Chan is like a fish in the police series of stories, 1992, 1993 Lianzhuang Golden Horse Film Emperor; Zhou Xingchi in the comedy genre no one can challenge, self-written and self-directed to win the Golden Film Emperor; and Zhou Runfa can be called the "King of Police Bandits" with "The True Colors of Heroes", he is also the only Lianzhuang Film Emperor on the Academy Awards.
But at the same time, Jackie Chan and Zhou Xingchi are also limited by their own film genres, unable to broaden the path of drama, and when they reach the peak in their respective fields, they have no way to go.
For example, Jackie Chan, from "Big Soldier And Little General" began to gradually change, and later "Heavenly Lion", "Zodiac" and "Kung Fu Yoga" and other film stories are no longer as smooth as in previous works, and then to "Detective Pu Songling" can not bear to look at directly.
Stephen Chow's attempt began with "Yangtze River Seven", he tried to throw away the deep-rooted comedy inertia in the performance, but he could not ask for it, and then decisively withdrew from the performance camp and concentrated on being a director, but in his comedy empire, no one can replace his performance, so we see that the quality of the later films is not as good as one.
Since Jet Li's "Letter of Submission" in 2007, the quality of the film has also seriously declined, and even took over an inexplicable film such as "Legend of the Fengshen God", such a trend is actually the same as chengzhou, because of the genre film and the peak, but also because of the genre film painting hell.
In view of this, the "Big Four" only Left Zhou Runfa to join the warband.
If you talk about the curry position.
Zhou Runfa rode the dust.
After returning to the Chinese film industry after filming "Bulletproof Martial Monk" in 2003, no one can talk to him except for the four films "Let the Bullets Fly", "Journey to the West's Haunting the Heavenly Palace", "Cold War II" and "Peerless". And "Jean" is the work of director Jiang Wen, "West" is a mysterious action movie played by Zhen Zidan as Sun Wukong, "Cold" belongs to the friendship performance, and the real double main is only "Peerless".
And if you talk about Aaron Kwok, Leung Chao-wai and Andy Lau, it is actually quite difficult.
According to the history of the film industry, Andy Lau's qualifications are actually the earliest, followed by Liang Chaowei and Aaron Kwok again.
Among the three, Aaron Kwok and Andy Lau have cooperated five times, and the early three have all played Andy Lau, including "The Hero of the 91 Divine Eagle", "The Legend of Inspector Leiluo II. Father and Son Feud" and "The True and False Weilong of the Machine Boy Boy", with a cameo in "Super School Overlord" and a cameo in "Cold War" many years later; while Liang Chaowei's early three works with Andy Lau are slightly lower, and to "Infernal Affairs" began to be slightly higher Andy Lau, or it can be said that the two were basically equal.
After 1992's "The True and False Weilong of the Machine BOY Boy", Guo Liu and Liu have not officially cooperated again; Aaron Kwok and Liang Chaowei first collaborated in the movie "When the Wind Rises Again", and Liang Liu cooperated in a "Goldfinger" after eighteen years of cooperation in the "Infernal Affairs" series.
Objectively speaking, the position of the three of them may be the closest state in the current Hong Kong film industry, which can be described as "between Bo Zhong".
At the very least, if you are in the same play, if you remove the cameo, there will never be a scene in the form of the main support, as for whose name is in front, it depends on how the film side balances the treatment.
The conclusion is that Chow Yun-fat > Aaron Kwok = Andy Lau = Liang Chaowei.
The box office is relatively intuitive.
Zhou Runfa won the annual championship and broke the record three times, which the other three could not compete.
Aaron Kwok has won three consecutive years, the total box office champion of a single film in film history, breaking a record once, and all three films have entered the top 30 of the overall list.
Andy Lau won one year after another, and the other two were shared with Liang Chaowei ("Infernal Affairs").
But Andy Lau's advantage is that the base of works is huge, the number of times he entered the top ten of the year far exceeds that of the other three, and the cumulative total box office figures are amazing.
Therefore, if we take the Hong Kong box office as far as we look at it, Chow Yun Fat > Aaron Kwok = Andy Lau> Leung Chao-wai.
Zhou Runfa has entered the ticket play period, but the numbers of the other three will continue to be refreshed.
Look at their respective representative works.
Zhou Runfa can list six films, namely "The True Colors of Heroes", "Dragon and Tiger Storm", "Eight Stars and Joys", "God of Gamblers", "Blood Double Heroes" and "Crouching Tiger, Hidden Dragon", three hero films, one gambling film, one comedy and one ancient hero.
Among them, the strongest are "The True Colors of Heroes" and "God of Gamblers", both of which are the first to open up the atmosphere and trigger the trend of genre films, especially "The True Colors of Heroes", which can be called an epoch-making work, and Chow Yun-fat's performance is the greatest.
Aaron Kwok can list four films, including "The Mighty World" in the 1990s, "Cold War", "Cold War II" and "Peerless" in the 1990s, in the genres of fantasy and police bandits.
Among them, "The Majesty of the Wind and Clouds" has created a wave of computer special effects for martial arts Hong Kong films, two "Cold War" and one "Peerless" can be called the most high-profile police productions in the past decade, and with the passage of time, Aaron Kwok's performance has become stronger day by day.
Andy Lau can also list four works, namely "The Biography of Inspector Leiluo", "Dark War", "Infernal Affairs" and "Bomb Disposal Expert 2", all produced by police bandits.
"Ray" is a follow-up work after "Lame Hao", but Andy Lau's "Leiluo" performed well, "Dark War" is also a high-quality commercial work, and "Infernal Affairs" can compete with Stephen Chow's "Shaolin Football" and "Kung Fu".
Liang Chaowei's literary and artistic works have more influence than commercial genres, so from a commercial point of view, he may list three films, namely "Tokyo Raiders", "Infernal Affairs" and "Chibi", which are of the genre of two police bandits and a costume war.
On the influence of the works, it should be Chow Yun-fat> Aaron Kwok> Andy Lau> Liang Chaowei.
At present, the works to be screened, Chow Yun-fat has "The Sunshine Years", Liang Chaowei alone cooperated with two heavenly kings, two large-scale production police bandits "When the Wind Rises Again" and "Goldfinger", both of which are more than 200 million yuan in investment costs, and Aaron Kwok's "Anti-Drug III" is being filmed.
You can also talk about film remuneration.
Zhou Runfa still leads the crowd, film remuneration + dividends are the standard of superstars of their time, such as "Peerless" revealed that Fa Ge film remuneration reached 40 million, plus dividends, this is the treatment of superstars.
In the 1990s, Andy Lau's film remuneration should be higher than Aaron Kwok and Liang Chaowei, but after entering the 2,000 years, the distance between the three should be rapidly flattened.
Liang Chaowei once had a press release saying that the film was paid half a billion yuan, but the impression was that he began to cut production sharply since then.
Andy Lau said in the 2005 Asian Rising Star Director Program that he took out three film salaries to support new directors, that is, 12.5 million, an average of about 4 million per film, and more than a decade later, it is also reported that his salary exceeds 20 million.
There are few press releases on Aaron Kwok's salary figures, but director Weng Ziguang has personally said that he is the "most expensive" grade in Hong Kong, and recent reports have pointed out that Aaron Kwok's film remuneration has reached 25 million, which should be extremely credible.
On the whole, Zhou Runfa's film remuneration or the ceiling level of Chinese actors, Guo Liuliang's three people are not up to, but the commercial film remuneration will not be less than 20 million. Andy Lau is more business-minded, often using film remuneration as an investment, such as the dividend figures of "Sweeping Drugs II" are very impressive, and Guo Liang and the two have never seen reports in this regard.
Therefore, the film remuneration situation should be, Chow Yun Fat> Andy Lau≥ Aaron Kwok = Liang Chaowei.
Finally, a brief talk about acting performance.
Zhou Runfa is the most "stable" and has an unparalleled aura, especially "Little Ma Ge" and "Gao Jin" are the most outstanding.
Aaron Kwok has the strongest "plasticity", and the aura and depth are also gradually growing, and can be listed with "Liu Jiehui" and "Li Wen".
Andy Lau is known for his "handsome", tenaciously adhering to the inherent way of performance, with "Leiluo" and "Ah Hua" as the best.
Leung Chao-wai is extremely "spiritual" and is also known for his eye drama, and his commercial role is "Chen Yongren".
Zhou Liang and Liu Sanren have already reached the peak of their personal acting ability, and they can hardly have room for transformation.
After Aaron Kwok entered the top acting school sequence with "peerless", he is still growing and transforming with a strong creative desire and a "role-seeking" mentality, so as far as the entire Hong Kong film industry is concerned, only his acting ability is still insidious.
If it is based on difficulty and results, or "little brother" = "Li Qing" = "Chen Yongren".
One more word on acting.
The classic role of the four mentioned above, when it comes to difficulty and results, there is no Andy Lau's "Leiluo" and "Ah Hua", in fact, it does not mean that he is not performing well.
Andy Lau has five three golden film emperor awards in his hand, whether he hates him as a person or because of his some fan remarks and harms the main lord, one thing to point out is that the lower limit of his acting skills is the film emperor level, which is beyond doubt.
But he was indeed inferior to Zhou Guoliang.
There's a reason for that.
Let's try to look at the context of the work of these four people.
Chow Yun-fat was called a box office poison before his transformation with "The True Colors of Heroes" in 1986.
But if you pull out the film list, you will find that he is actually obsessed with the study of literary and artistic genre films, the more well-known is "The Story of Hu Yue" and "Waiting for the Dawn", in addition to such as "Flower City", "Love in the City", "Woman's Heart", "Why Have Me", "The Story of the Rose", "The Legend of the Upside Down" and "Underground Love" seven.
In the later period, the commercial and literary and artistic quantity of his works just turned around, and the box office soared.
Compared with Chow Yun Fat, Liang Chaowei has a larger proportion of literary and artistic works, and his later cooperation with Wong Kar-wai is even more needless to say.
Looking at Aaron Kwok, he starred in eighteen films with supporting roles and cameos in the early days, almost one-third of the number of works in his career, and all but one of the works "Barefoot Kid", the other works are nutritionally deficient fast food types.
Since then, he has begun to parallel literature and art and business, including in-depth literary and artistic works such as "Father and Son", "Favorite", "Centennial Floating City" and "Blood Seeking Plums", as well as "The Majesty of the Wind and Clouds", "Cold War", "Cold War II" and "Journey to the West: Sun Wukong Three Dozen White Bone Essences" and "Peerless" such commercial hits and word-of-mouth works.
This choice allows him to maintain the starlight bonus of the idol actor intact while his acting skills continue to grow.
This can explain why he may occasionally have some niche or literary and artistic works that are actually very poor at the box office, but they will not affect their commercial value at all.
Andy Lau has been running wild on commercial routes, accounting for less than 10% of the more than 150 films.
From such a context analysis, we can know where the above conclusions about acting skills come from.
Because performance is inertia, Andy Lau has only begun to transform into some literary and artistic films in recent years, but the inertia of a large number of commercial film performances is difficult to eliminate in a short period of time, even if the actors work hard, they will be affected. This is the same as Zhou Xingchi of "Yangtze River Seven", even if he tries very hard to make a performance without the slightest comedy, but the long-term inertia is bound to linger.
Zhou Guoliang's three people, in terms of role shaping, will take the way of literary depth to dig deep into the role, so the role will appear more full and vivid, just like a dialogue, the audience will see the inner story of the character, and Andy Lau is lacking in depth.
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Who is the king of commercial cinema?
For now, Zhou Runfa should still be the first to promote, which is the strength of the superstar.
And who of the other three is most likely to succeed?
Overall.
Aaron Kwok may have the greatest potential.
Grow into the next king of commercial films.