Preach in words. - Don Tears
2005.
Liang Chaowei took his fifth golden statue with "2046".
Together with Maggie Cheung, he also presented the Best Film Award for Stephen Chow's Kung Fu.
Ten years later, he wrote Stephen Chow into a film review called "Hearing the Sound of Shooting Stars", "I am very grateful to that old friend, but my mother was very angry at the time, because she felt that this guy named Stephen Chow hurt his son to quit his stable job and go to some training class with an uncertain future, and I still remember the words she said to me at that time: "Decline boy!" I won't give you a single buck! ”」
In fact, in life, who can say it clearly?
It's all about thinking and moving forward.
Sometimes, life is like a long street with no corners in sight.
But I don't know when those corners will suddenly appear in front of me.
For example, the five filmmakers I'm going to talk about today.
On February 3, "Hancheng Raiders" was released.
Director Ma Chucheng, he is gorgeous modernist, the film is indispensable is a handsome man and beautiful woman, the plot is generally relaxed and fun, the previous works have "Summer MomoCha", "Tokyo Raiders" and "Romantic Cherry Blossoms", followed by "Flower Police" and "Paris Raiders", and this type of film, never need to talk about the prominence of acting skills and the depth of thought.
Therefore, for Liang Chaowei, filming this play can be seen as a kind of adjustment between cooperation with Wong Kar-wai.
The scene was filmed with ease and laughter, and the audience felt relaxed and happy, and everyone was happy.
As for the question of Liang Chaowei's acting skills, it is not a secret that there have always been two voices. One is crazy, thinking that he is in a state of highlight at all times and completely blameless; the other is disgusted with his "acting everything is Liang Chaowei".
To understand the cause of this disagreement, we must first understand the classification of movies.
Take his own works, such as "City of Sorrows", "Chongqing Forest", "East Evil and West Poison", "Tricycle Driver", "Spring Break", "Sea Flower" and "Fancy Years" and "2046", "Color Ring" are one category, while "Rogue Doctor", "Secretly Love You", "Dark Flower" and "Infernal Affairs" are another category, and the above works are his masterpieces in different genres.
This is actually the difference between literary niche and commercial production, but it is obvious that Liang Chaowei is more suitable for the performance of the literary niche genre. In other words, he has the ability to dig deep into the role, so he is particularly prominent in literary films, especially the emotional transmission ability of the eyes, so that he can almost surpass the entire Chinese film industry.
Therefore, Liang Chaowei, who is serious, few actors can win him, and Liang Chaowei, who is in a relaxed state, is actually no different from most actors in commercial productions, relying on personal charm to capture the audience, as for how to choose, it all depends on personal preferences.
At this time, Liang Chaowei was two years later, "Color Ring" brought him the third Golden Horse Film Emperor Award.
In the following year, he was named a national actor.
On April 28, "Three Forks" was released.
Although director Chen Musheng once explained that the name "Three Forks" comes from the Peking Opera repertoire, which means that "in the darkness, there are always enemies who feel sorry for each other", the film's introduction says so, "Telling the story of how Zheng Yijian, who plays a lawyer, Aaron Kwok, who is a policeman, and Wu Yanzu, a killer, find themselves in their work and experience."
But this is actually a film, still a traditional type of police action movie.
And Aaron Kwok, who has been baptized by the "Judo Dragon and Tiger List", has hardened his performance from a police suspense story with a three-line intertwined narrative to a single-core bitter love movie such as "Looking for Her for Ten Years". In other words, both the lawyer and the killer can disappear, and he alone can hold up the entire movie.
This is not an over-reputation, and Aaron Kwok's first golden horse film emperor with "Three Forks" is not accidental.
For him, this film can also be called "the fork in the road of fate".
Regarding Aaron Kwok's acting skills, the controversy is much greater.
Ignoring those subjective and malicious views, in fact, as a general passerby rather than a fan of the audience, it is easy to misjudge the actual acting ability of the actor, especially for an actor like Aaron Kwok, who has been growing.
And the controversy itself is not a problem, for example, we will see someone say, "Aaron Kwok where there is any acting skills, to be an idol is good, if compared with Wu Zhenyu's acting school, it is too much worse", people who say so may only watch "Thunder X-Men", "2000 AD" and "Romantic Cherry Blossoms", while others say, "Today's Aaron Kwok is the façade of the Hong Kong acting school", he may watch "Father and Son", "Favorite", "Floating City Years", "Cold War", "Breaking the Game" and "Peerless", "Mai Luren" These are the ones.
So the key to this is the reading situation, because non-fan passers-by can't always follow an actor's movie.
In fact, from a certain point of view, Aaron Kwok and Liang Chaowei converged, and they were very adaptable to niche literary and artistic genres.
Someone has said in the past that "Aaron Kwok's acting skills are not a problem, but he always feels that his performance exceeds the needs of the film's plot itself", which is actually "in a word". This judgment comes from conventional commercial films, take the "Hancheng Raiders" mentioned above, if Liang Chaowei is replaced by Aaron Kwok, then Aaron Kwok may have an extra serious and try to have a more in-depth performance than Liang Chaowei.
This is also determined by the actor's own personality, Aaron Kwok seems to naturally lack the interest in gag-like nonsense performance of Hong Kong actors, no matter what kind of plot role he will seriously study, such as the earliest nomination for the Best Actor of the Golden Statue "91 Divine Eagle Hero", a group of people fooling around in it, he is playing a serious killer.
But this is also the reason why he can determine the temperament of the movie "Cold War", his righteousness is without any anger and flaws, looking at the entire Hong Kong film industry, it is absolutely impossible to find a second person who can achieve his level, and there is a kind of "righteousness and selflessness" that emanates from the inside out.
The emotional transmission ability of Aaron Kwok's eyes is also very strong, such as in the scenes of "Barefoot Kid", "Favorite" and "Peerless", and even in special effects movies such as "Wind and Cloud II", his eye scenes are very prominent and moving.
From another point of view, Aaron Kwok is actually very close to Leung Ka Fai, and they are both the kind of actors who do not repeat themselves in their performances.
Because of the performance of "Three Forks", he was invited by director Tan Jiaming to star in "Father and Son", and the following year, he was even the Golden Horse Film Emperor of Zhuang.
At present, Aaron Kwok, who has reached the peak, his acting ability has indeed deserved a sentence of "deep and unfathomable".
He can be called the most capable actor in the Hong Kong film industry in the past decade.
On July 29, "Seven Swords" was released.
Although Dawn won the Golden Horse Film Emperor in 2002 with "The Homecoming of the Three Changes", in fact, his peak in performance was in the middle and late 1990s.
The literary and artistic route that began with "Urban Love" is inexplicably in line with him, but the disadvantage is that the explosive power he showed in films such as "Dragons and The Seas" is gradually lost, and the gentleness to the extreme becomes Mune, and then draws the ground as a prison.
You can observe the subsequent films, followed by "Two Heroes" and "Infernal Affairs 3", then "Little Things in the Big City", "Seven Swords" until the beginning of the fall of "Jiangshan Beauty" and "Mei Lanfang", in these films, he played the Chinese medicine doctor, hypnotist, senior inspector, doctor, swordsman, as well as hermit and Peking Opera master, as well as the photographer in "There is a Ghost in the Heart".
On the surface, these characters are rich in types and have different characteristics, but the character background can actually be said in four words, "introverted and wooden".
So Dawn and Aaron Kwok happen to be two extremes.
One is limited by the role, the other is not limited by any role, so one develops rapidly in the early stage and the other grows very high in the later stage.
Just like the "Seven Swords" to his character Yang Yunxiao, the personality of a "stable" word, its weapon name is "Qinggan", the essence is the sword billet, the main strongest defense, but too rigid although easy to fold, but over the code blunt.
It is safe to stay the same, but it is also easy to make it difficult for people to grow, and then lose morale.
After "Mei Lanfang", it fell all the way.
On October 20, "Underworld" was released.
This year, there was something that the "old monster" of the Hong Kong film industry, Leung Ka Fai, never expected, and actually lost to "cross-border novice actor" Aaron Kwok in the battle for the film emperor of the Golden Horse Awards.
Although due to the different judging mechanisms, there may be some unexpected results in the major awards ceremonies, but Aaron Kwok of "Three Forks" won leung Ka Fai of "Underworld", which is inconceivable at first glance, but if carefully considered, the reason is simple.
The big D in the commercial film "Underworld" is excellent in form, and Sun Zhaoren in "Three Forks" is emotional depth.
This is the truth of the so-called "beating the teacher to death with a fist".
Acting problems are actually like two sides of the coin, one side is performance skills, the other side of the performance depth, it is like the interpretation of a song, even if you do not need to change your voice like a machine, but if the mood sinks and the release is lacking, it will not impress others.
The big beam and the small beam are not the same, his skill level in the commercial side is invincible, but the depth is slightly inferior by half a point.
This, of course, can also be called "great success is lacking".
Therefore, in the movie "Underworld", Leung Ka Fai's big D is arrogant and extremely arrogant, and his ability to shape his role is indeed amazing, but if you compare it with Chen Yongren of The Little Liang in "Infernal Affairs", which is also a commercial film, the difference is self-evident. And his real peak acting skills in commercial films are Li Wenbin in "Cold War" seven years later.
If you take "Chasing the Tiger and Catching the Dragon", Liang Jiahui has a little move to use the old.
But it's still old and strong.
On December 1, "If Love" was released.
Jacky Cheung, who came back from the film, was very cautious in the film, from "Man Forty", "Golden Rooster 2" and "Jianghu", to this "If Love".
Many people say that he is a "movie emperor who is delayed by singing", which is actually true, with the talent conditions shown in his early films, if he immerses himself in research and painstakingly honses his acting skills, his acting ability should not stop at the ability shown in "Equator".
And if divided from the type of actor, his route, Leung Ka Fai is the ceiling.
That is to say, Jacky Cheung is still an actor suitable for commercial films, and he does not have a strong ability in terms of depth of performance.
However, as far as its shadow path is concerned, the "release" in the early stage and the "collection" in the later stage have not been integrated into one furnace, if you compare the films before and after, you will find that the early stage is not "introverted", and the later stage is lost "burst", in other words, it is amazing and slightly unbalanced in the past, and now it is introverted to no glory.
This "If Love" is a work that Chen Kexin tries to put into his own understanding of film and life, involving the directors and actors' mental presentations, such as how the director treats his works, how to balance business and art, and ambitious actors actually want to be directors. In the form of a song and dance drama, he avoids the conflict between the realism of the story and the art, and intertwines the love and hate of the characters in the time that comes and goes.
One person is extremely unconfident, one person wants to forget the past, and the other person is reluctant to pass.
The script is clever, but some of the plots are deliberately designed and unnatural.
Jacky Cheung is actually caught in a kind of "depressed" and "angry" two kinds of performance path cycle, careful observation of his "Man Forty" to "Equator" six films as the protagonist, almost the same, when introverted, you feel, "this person has a heart", slightly explosive, "he is in a bad mood".
It is also a manifestation of performance solidification and creative decline.
There is no end to the road ahead.
Each time node summarizes the past and points to the future.
This is the true meaning of the past and the future.