This article was published on the Hong Kong Film Public Account
People in the rivers and lakes, involuntarily.
This is probably the most condensed proverb of the ancient dragon. "The Sword of the Third Young Master" is probably the one that best embodies this sentence in all the stories of Gu Long.
Martial arts is a sentiment for Hong Kong people. "The Sword of the Third Young Master" was even more special for Er Dongsheng. Although after becoming a director, Er Dongsheng's films were mostly fashion dramas depicting social reality, when he was an actor, he was a popular student of Shaw's martial arts, and his famous work was released in 1977, and he first starred in "The Sword of the Three Young Masters".
At that time, Er Dongsheng was only 19 years old, and the role he played was the Third Young Master, Xie Xiaofeng.
In 1977, Er Dongsheng version of "Xie Xiaofeng"
Gu Long is good at writing about the prodigal son. Probably everyone who has read the cologne can not deny this sentence. Lu Xiaofeng, Chu Liuxiang, Li Xunhuan, Shen Lang, Jiang Xiaoyu... These gulong's most popular characters can't escape these two words.
Xie Xiaofeng, Ben is just one of them. No one can hide a person's fate in the jianghu. Therefore, when Xie Xiaofeng faced death, what he was thinking about was not his relatives and the past, but the fourteenth sword of the "ThirteenTh Sword of Death"! Only because his life had long since merged with his sword. This is the jianghu. Cold, but impossible to escape the rivers and lakes.
Although he has not directed ancient costume martial arts movies, the spirit of martial arts has actually always appeared in Er Dongsheng's films. Who's to say that isn't just another kind of society?
In "The Night of Mong Kok", LaiFu and Dan, a killer and a prostitute, are the most common identities in the jianghu, those who desperately strive to survive "children of the jianghu"; in "Disciples", Ah Kun and Ah Li are also like intimate masters and apprentices in the jianghu, although they are concerned about each other, they have their own evil intentions;
"The Night of Mong Kok"
Wait until the "Shinjuku Incident", the sharp underworld description, the naked fire and scene at the end, all carry a kind of helplessness of the children of the jianghu, and the iron head who is only bent on finding people, because he lost his identity when smuggling, had to continue to do black work, and stepped onto the road of the underworld step by step for his identity; the weak and timid Ajie, obviously has decided to wash his hands and not fish for the side door, and is at ease to make sugar fried chestnuts to live, but because his companions go to the bathroom and help see the machine for a while, they are used to be angry, cut off their hands, and disfigured. Such a plot is the same as Gu Long's description of "people in the rivers and lakes, involuntarily", just like that.
《Shinjuku Incident》
The jianghu Yu'er Dongsheng is not unfamiliar. The story of "The Sword of the Third Young Master" weighed heavier in Er Dongsheng's heart. But starting from the identity of the director, Er Dongsheng was not satisfied with the version of that year. He planned for nearly 20 years to remake this matter, and tried to find Zhang Guorong to star around 2000.
Later, Nicholas Tse, Gu Tianle, and Peng Yuyan also had scandals with the role of "Three Young Masters", but because of the cost of costume films and other issues, the project was eventually delayed again and again.
It was not until 2014, invested by Bona, an old friend of Hong Kong movies, that Er Dongsheng was able to realize his dream after the success of "I Am a Passerby". Filming starts in April and ends in September. The final lineup became Lin Xinxin as Xie Xiaofeng and He Rundong as Yan Thirteen. However, the post-special effects made Er Dongsheng and the fans wait for another two years.
Regarding the story, Er Dongsheng said that the version of this remake will be very different from that year:
"After I finished filming this scene, when I was 20 years old, I once saw Gu Long in Taiwan, and when we chatted together, he told me a version of "The Sword of the Three Young Masters" that was completely different from the novel and the version taken by Chu Yuan, which had a great impact on me at that time, so this time I wanted to try to shoot the jianghu in his heart."
Unlike the novel and the original version of Chu, the first is the fate of the Third Young Master, "In the previous version, Xie Xiaofeng gave up the identity of the Third Young Master to become Aji, but this time is different, Xu Ke and I plan to let him 'no way out'. ”
The story has changed, but the spirit of the cologne will not change.
"People in the jianghu, involuntarily", these eight words will probably still be the core of the story. It is true that in the original work, the third young master chose to fake his death and transform into a "useless Aji" but could not set it, which was quite dramatic and made people sigh. However, the story of "no way out" will strongly highlight the state of "involuntariness".
In terms of emotional lines, in the 1977 version, the feelings between Xiaoli and the Third Young Master were deepened, but the love between Murong Qiudi and the Third Young Master was weakened.
In the original work, although there are countless women who have something to do with the Third Young Master, it seems that every role in the book exists to highlight Xie Xiaofeng's charm, but the one who really has a love entanglement with him is only Murong Qiudi, who loves and hates, and she established Tianzun, on the one hand, for her own desire for power, and more importantly, to liquidate the love-hate entanglement between herself and Xie Xiaofeng, but the Xie family is not Murong Qiufeng's goal, and even she also invited Xie Xiaofeng's aunt and housekeeper to be her "accomplice" in calculating the latter.
The ultimate trailer for The Sword of the Three Young Masters
In the new trailer, Tianzun said, "From today onwards, there will be no Xie clan in Wulin!" Overweening! It shows that the film expands and sharpens the contradictions, and also expresses the hatred of love and killing each other to the extreme.
On the other hand, in the new version, Xiaoli has changed from the top card of the brothel to not being good at dressing, just to greet the tail girl who exists for special guests, the bumps and purity of the role are prominent, plus Jiang Mengjie and Lin Xinxin's kiss scene is fired, in the new version, the two loves will have a certain weight, and in the limited time of the movie, how the emotional line is arranged is also one of the highlights.
However, in any case, Er Dongsheng's emotional support makes him strive to do a good job in expressing this story, and this new theory must also depict the jianghu and chivalrous style in his heart.
Whether it is the 19-year-old teenager or the elder who is now nearly 60 years old, romance is one of the indelible core words in Er Dongsheng's heart. His rivers and lakes are cold, but they are more beautiful. Although a relatively large adaptation has been made from the perspective of the story, in terms of style, Er Dongsheng and Chu Yuan can be described as the same. For Yu Erdongsheng, Chu Yuan can be described as his mentor, and the two cooperated in more than ten martial arts films during the Shao period. In the Shao era, Chu Yuan was a special name, he started the journey of the new martial arts with "Meteor, Butterfly and Sword", but in the previous "Ainu" and other wind and moon films, it has already shown its achievements in set and atmosphere. He makes good use of images such as pavilions and pavilions, small bridges and flowing water, with the scene of dense bamboo forests, white mangs, and smoke from time to time, to create a romance other than the cold-blooded rivers and lakes. Although the shed scenery of Chu Yuan is fake, it is extremely beautiful. Perhaps at a limited cost, Chu Yuan's martial arts world is not realistic, but it is more freehand, and his unique aesthetic attainments have also become the guarantee of the quality of his works.
1977 Edition of The Sword of the Three Young Masters
Nowadays, the cost of Er Dongsheng shooting the Third Young Master is much higher than that of Chu Yuan, but from the trailer, the aesthetic style of the new version is similar to the old version, the general landscape of ink painting, the lights of the lone bridge, the white snow, and even the pure color of flowers and leaves behind the characters, all of which are like the upgrade of the set of Chu Yuan, more extreme and more beautiful, although there is a false plastic feeling, but it is not lost in writing and romance. However, the romance that belongs to the rivers and lakes, in addition to the beauty of the wind, flowers and snow, is also inseparable from the life and death of cold light and blood shadow. Once a person dies, the children of the jianghu are even more so. They are not afraid of death, and every master duel may be a contest of life and death; but they want to decide life and death, so "How would you rather die?" "Die under the sword I respect," became the conversation between Yan Thirteen and Xie Xiaofeng before the duel.
They have been practicing swords all their lives, and even thinking about swordplay until they die, after all, "if a person has sacrificed all his voices for the sword, how can he think of anything else before dying!" Therefore, they must not only choose an opponent for themselves, but also choose a beautiful burial place for themselves. Only then will you feel the place to die. This kind of thinking, in fact, also comes from Gu Long's own view of life and death, and after his death, the 48 bottles of xo sent by his friends have also become a good story. The 77th edition forcibly modified the original book at the end, allowing Xie Xiaofeng to defeat Yan Thirteen, and the romantic style of life and death was suddenly much lower.
In the original work, when Xie Xiaofeng knew that he only had three days to live, he could still fulfill everyone's wishes and promote the marriage of the elderly maid and the disabled swordsman; take the doctor to put aside his identity and spend the day and wine; and unravel the hatred accumulated by others for many years.
Yan Thirteen chose to kill himself with the fifteenth sword of the "ThirteenThought Sword" instead of Xie Xiaofeng, who won the duel but sacrificed his life. After that, Xie Xiaofeng chose to cut off the thumbs of both hands and never used a sword again. This kind of ending is undoubtedly gu long's ultimate interpretation of life and death and false name. Xu Ke said that "the ancient dragon's action sword has not reached the sword qi has solved the problem", although it is in response to the sentence "The world's martial arts, only fast is not broken". But only smelling the sword qi and not seeing the moves, in a sense, is also a kind of freehand romance of the ancient dragon. For Erdao, one of the major significances of the remake is to shoot the martial arts in Gu Long's heart. And Gu Long's overly romantic understanding of jianghu and life and death, and The fit with Er Dongsheng's heart, has become one of the keys to the success of the film.
In the new version of the movie, the core words of "love and kill each other" may indicate another interpretation of life and death - because I love you, I want to give you the promised destination.
Rivers and lakes, indispensable sword and light sword shadow. Action design and visual effects technology are an integral part of martial arts films.
In the heyday of Hong Kong's new martial arts, martial arts instruction was once a well-known position in the Hong Kong film industry, not only with friends from neighboring Asian countries to learn the art, but also some martial arts fingers from Hong Kong to cooperate with other countries, and some Hollywood filmmakers such as Quentin and Rza reflected the influence of Hong Kong action movies in movies. Er Dongsheng also said that when the script was completed in 2000, one of the reasons why it was not shot was because Ang Lee's "Crouching Tiger, Hidden Dragon" turned out to be a success, and Er Dongsheng realized that at that time, there was no other updated method to shoot a martial arts movie, so it could only give up.
It wasn't until he later saw Xu Ke's "Dragon Gate Flying Armor" that he felt that there was finally a new way to support the significance of the remake.
Dragon Gate Flying Armor
However, 3D technology is not what Er Dongsheng is good at, so he finds Xu Ke and even thinks that Xu Ke is like his master.
He laughed and said, "The process of exchanging ideas with director Xu Ke feels like a competition, we put out what we are good at, and then study how to integrate them together, and what possibilities and designs will be there, and the final result is often unexpected and very exciting." ”
Technical experience is probably the most lacking thing for Er Dongsheng to shoot 3D martial arts movies. Xu Ke is the best supplement to this experience.
As the director who is most obsessed with technical experimentation in the Hong Kong New Wave, Xu Ke is familiar with the "True 3D" light car after filming the "Di Renjie" series, "Dragon Gate Flying Armor", "Wise Tiger Mountain" and other movies, and martial arts action films are xu Laowei's best genre, "Butterfly Change", "New Shu Mountain Swordsman", "Smiling Proud of the Jianghu", "Huang Feihong" series, "Seven Swords" and so on are his martial arts masterpieces at various stages.
The Seven Swords
Gu Long's novel is something that Xu Ke has never touched. The actions in Gu Long's novel are very conceptual, whether it is a sword method or a sword method, as soon as the sword light arrives, things are leveled, and for action design, it is a big problem that has to be overcome. After all, in the book, "no one can see their sword drawing, and their sword has suddenly struck like lightning."
In the movie, if a group of people can't see the action scenes that the sword can't see, probably countless people will leave the scene in anger. If only one move can end a duel, in the book, it can still be described as a section of atmosphere, scene, and heart, but it is difficult to present in the movie.
Therefore, when Chu Yuan filmed "The Sword of the Three Young Masters", he would count out every move, design blocks and parry, and when filming "Amorous Swordsman Ruthless Sword", when Li Xunhuan hit with a fan, it was more than a flying knife, "Little Li Flying Knife, No False Hair" seems to be more of a pompous word written on the fan.
It is precisely because the movement of the ancient dragon is fast and conceptual, providing enough imagination space for the adaptor of the image, in the action design, everyone will have their own different ideas, and the integration of their respective benefits has become something that the creator needs to do. On the set, Xu Ke and Er Dongsheng both personally raised weapons to demonstrate to the actors, trying to bring the most appropriate imagination to life.
Although Lin Xinxin and He Rundong, starring Xie Xiaofeng and Yan Thirteen have been criticized by many people, both of them are in good age, and they do not lack experience in shooting action scenes, coupled with the "obedient" attribute has also been praised by The Director, for the restoration of imagination, it is not a good thing.
Different from the "fist to flesh" pursued by most action dramas today, the action of "The Sword of the Three Young Masters" still advocates a good-looking and freehand style. And next year will also be a big year for martial arts films, Xu Haofeng, Jiang Wen, Yuan Heping and other people will fight again, and whether "The Sword of the Three Young Masters" can play a good role for this wave of martial arts movies has become its significance in the genre perspective. Although the rivers and lakes are cold, they are also like dreams. The shadow of the sword and the light is not the romance of men.
@Wen/ Chen Lun
the end