Nicholas Tse cried, and it was crying bitterly.
Recently, at the press conference of the movie "Fury Case", Nicholas Tse burst into tears!
To be honest, it was the first time I saw Nicholas Tse crying in public, which showed the depth of his relationship with the late Hong Kong director Chen Musheng.
Netizens are also talking about this:
Some people say that Nicholas Tse is a true temperament, and his friendship with Chen Musheng has long exceeded the relationship between the director and the actor, and some people say that he is using his tears to hype and show off his feelings, all in order to create momentum for the upcoming movie "Fury Case".
"Anger and Serious Case" is Chen Musheng's posthumous work, Nicholas Tse and Zhen Zidan co-starred, the film is scheduled for summer release on July 30.
Director Chen Musheng died of nasopharyngeal cancer in August 2020 at the age of 58.
Tse Tingfeng's crying I think is his true feelings, Chen Musheng and Xie Tingfeng have cooperated many times, he can also be regarded as one of Tse Tingfeng's Bole.
In my opinion, Tse Tingfeng's tears are not only a lament for Chen Musheng, who has passed away, but also a remembrance and tribute to the glory of Hong Kong films.
Chen Musheng is a talented director in Hong Kong, the only classical and academic director in Hong Kong.
In 1981, Chen Musheng left the school and entered the "Li's TV Station" at that time, and later Chen Musheng jumped to the TVB at that time, where he met a person who changed his fate, this person was Du Qifeng.
Chen Musheng was later favored by director Du Qifeng and became Du Qifeng's assistant director.
Later, he assisted Du Qifeng in filming TV series such as "Snow Mountain Flying Fox" and "Yitian Slaughtering Dragon", which later became classics.
In the mid-1980s, Du Qifeng began to dabble in movies, shooting films such as "Happy Ghost Bumping Into Ghosts" and "Eight Stars Annunciation", and Chen Musheng also began to get involved in the film industry with the help of Du Qifeng, and became an assistant director, successively participating in the filming of the movies "Killing Love" and "Sipping Vinegar Big Husband" and so on.
In 1990, Chen Musheng ushered in a turning point in his life.
At that time, Du Qifeng was planning to shoot the movie "Heavenly Love", and later Du Qifeng directly gave the directorial work to Chen Musheng, and "Heavenly Love" became Chen Musheng's directorial debut.
After the release of "Heavenly Love", the response was enthusiastic and received unanimous praise, and Chen Musheng also made his reputation with this movie.
It is worth mentioning that Wu Mengda, who played a supporting role at the time, also won the Best Supporting Actor Award at the Hong Kong Film Awards with this film, which is also the first Best Supporting Actor awarded by Wu Mengda in many years.
Now that both of them have gone west, it is inevitable that people will sigh and sigh.
After "Heavenly Love", Chen Musheng began to explore and think about his own film style, and then tried to shoot a lot of films with different themes, but they were not very ideal, until he joined Jiahe, his life once again ushered in a turning point.
In Jiahe, he filmed his first police action film" Stormtrooper's Fury Street, which attracted a large number of fans of action police films with its impactful action scene infection, and achieved good box office results.
Chen Musheng was also nominated for the Best Director Award at the 16th Hong Kong Film Awards for this film.
"Stormtrooper's Fury Street" brought Chen Musheng to the peak of his career, and since then he has gone farther and farther on the road of action movies, and he has also gone wider and wider.
Later, Chen Musheng cooperated with Jackie Chan on "Who Am I", became Jackie Chan's "royal director", and successively filmed films such as "New Police Story" and "Baby Project".
Later, after Chen Musheng left Jackie Chan, he shot classic movies such as "Boy's True Colors" and "Keep Talking", and he was also nominated for the Best Director Award again and again, but he lost it every time.
Later, Chen Musheng filmed films such as "New Shaolin Temple" and "Sweeping Drugs", of which "Sweeping Drugs" swept many awards, but in the end, the best director award was won by Wong Kar-wai.
Chen Musheng has been nominated for the Best Director Award at the Hong Kong Film Awards five times, but every time he returns home, maybe he is just a little bit of luck.
But that doesn't stop Chen from becoming the gold medal director of Hong Kong action films.
Chen Musheng shoots movies very professionally, works meticulously, shoots movies with great atmosphere, the script is also polished very well, and the plot of each film can be relaxed and perfect in detail, which makes him a commercial film director with great personal color and label.
Nicholas Tse burst into tears at the press conference, which made people also moved.
Nicholas Tse once said that Chen Musheng is his eternal mentor, and I think he is absolutely right, without Chen Musheng, there may really be no Tse Tingfeng today.
Nicholas Tse was once considered the hope of Hong Kong cinema, and he and Chen Musheng have worked together six times, making him the actor who has worked with Chen Musheng the most.
In 1999, Tse first starred in the film "SWAT New Humanity" directed by Chen Musheng, which made Tse stand out in the Hong Kong film industry.
"SWAT New Human" spent nearly 30 million yuan that year and is known as the Jackie Chan film of the new era.
Chen Musheng recruited young actors such as Nicholas Tse and used novel techniques and addictive action design to make the film into an action blockbuster with international standards.
After the film was released, it received a lot of box office, and also won multiple awards at the Academy Awards, becoming one of Chen Musheng's representative works.
Nicholas Tse successfully entered the Hong Kong film industry with this film.
Later, Chen Musheng and Xie Tingfeng cooperated in "New Police Story", "New Shaolin Temple", "Boy's True Colors" and other acclaimed and popular movies.
Nicholas Tse, on the other hand, made people see the huge potential of him with these films, and was even once called the future of Hong Kong cinema by the media.
Indeed, it feels that Nicholas Tse was born for Chen Musheng's films, and the unique temperament of Tse Tingfeng and Chen Musheng's action movies are perfectly integrated, which makes people feel addicted to watching.
Chen Musheng has played a huge role in promoting the growth of Tse Tingfeng, and Tse Tingfeng bluntly said that Chen Musheng is his eternal mentor and a director who is willing to gamble his life on a shot!
Now the last film "Fury Case" that the two have cooperated with is about to be released, and Chen Musheng will never see it.
At the press conference, Zhen Zidan and Xie Tingfeng were originally going to stand Chen Musheng in the middle, but now they can only use a chair instead, which makes Zhen Zidan and Xie Tingfeng cry like rain, and perhaps only real friends can experience that feeling.
Also a teacher and a friend, this is Nicholas Tse and Chen Musheng.
Hong Kong cinema began to enter a period of glory in the 1980s, and only gradually declined in the late 1990s.
Hong Kong films began to dominate East Asia in the 1980s, at that time, both the number and output of films were among the top in the world, and the annual output of Hong Kong films in the heyday was at least more than 200 films, and many film stars and directors who were well-known in East Asia and even the world were also produced.
For many post-80s and post-90s, Hong Kong movies have accompanied us almost the entire youth.
In addition to the production, the brilliance of Hong Kong films is also reflected in the birth of many household names and the broadening of the theme of the film.
If hong Kong stars are mentioned, in that era, we have to mention "double weekly", that is, Chow Yun Fat, Chow Sing Chi and Jackie Chan.
Zhou Runfa became popular with "The True Colors of Heroes", Zhou Xingchi became famous with the nonsense comedy "Gamble Saint", and Jackie Chan created the era of kung fu comedy with his own real kung fu.
From the late 1980s to the mid-1990s, these three dominated almost the entire Hong Kong film box office list, and the top of the list also took turns.
It can be said that the glory of Hong Kong cinema and "bi-weekly success" go hand in hand.
In addition, at that time, Shaw Films, Jiahe Films, and New Art City Films stood on three feet, and the fierce competition and highly inclusive creative environment gave Hong Kong directors a lot of room to show their skills.
At that time, the Hong Kong film market was full of heroes and flowers, and the film genre was almost a three-legged situation: police action movies, funny comedies and martial arts movies.
Wu Yusen's police films interpret the aesthetics of violence, Xu Ke's martial arts films make people intoxicated, Stephen Chow's funny comedy makes people laugh, Wang Jing's all-star lineup makes the audience cry out for fun, and Du Qifeng's gangster godfather is terrifying, which makes Hong Kong movies like the brilliant galaxy in the night sky.
Zhou Runfa's god of gamblers, Jackie Chan's kung fu comedy, the king of comedy, Zhou Xingchi, the emperor of the hundred shadows, Liang Jiahui, the originator of the zombie, Lin Zhengying, the oriental undefeated Lin Qingxia, the sexy girl Qiu Shuzhen, Zhu Yin's Zixia fairy, as well as Wang Zuxian, Cecilia Cheung, Guan Zhilin...
A large number of excellent and highly personal actors make Hong Kong movies full of beauty.
A large number of talented and professional directors, coupled with a large number of male and female stars, produced a classic and rich genre of films, and all this created the most brilliant era of Hong Kong cinema.
In the late 1990s, Hong Kong cinema began to decline, and by 2003 it was almost at a low ebb.
The economic downturn, the lack of successors to film talents, and the rise of film markets in other east Asian countries have made Hong Kong films difficult.
Coupled with the departure of Mui Yanfang and Zhang Guorong, Chow Yun Fat, Jackie Chan and others left Hollywood, which made the downturn in Hong Kong movies worse.
The collapse of Taiwan's film market has exacerbated the rapid decline of Hong Kong films.
However, at this time, Hong Kong filmmakers are still living in their former glory, unwilling to go out, and even once looked down on co-productions, which made the re-emergence of Hong Kong films extremely difficult.
Although Nicholas Tse has not experienced the glory of Hong Kong films, he has personally experienced the decline of Hong Kong films.
Chen Musheng is the representative director of the brilliant late stage of Hong Kong cinema, who boldly used potential newcomers and created his own film style.
But the lonely tree is difficult to support, Tse Tingfeng is the same, even if he has starred in many acclaimed and popular movies, and even once called the hope of Hong Kong movies, but in the end he had no choice but to transform into a variety show.
Today's Hong Kong film talents are extremely scarce, and there is no successor, leaving only Andy Lau, Leung Chao-wai, Liu Qingyun and other older generation stars who rely on the audience's feelings for Hong Kong films to support them bitterly, because in addition to them, there is no longer any actor with appeal.
The departure of Chen Musheng has made the Hong Kong film industry one less wizard, and with the continuous departure of the older generation of film talents in Hong Kong, the road to the revival of Hong Kong films seems to be becoming more and more difficult.
Today, emotions may be the only fig leaf left in Hong Kong movies.
Tse cried because he had lost a mentor, a good friend, and in my opinion, his tears seemed to be commemorating the once glorious Hong Kong films, and his tears ripped off the only fig leaf of Hong Kong movies!
But at the same time, I also think that Hong Kong movies are not dead, Hong Kong filmmakers have not given up, people's feelings for Hong Kong movies are still there, and now that they are backed by such a big market in the motherland, Hong Kong movies will still have great potential.
The glory of the past has passed, but it does not mean that there is no future.
In today's new era, Hong Kong films can only have a chance to reinvigorate themselves if they strive to embrace the mainland market, bravely go out, and abandon their inherent concepts and prejudices.
Chen Musheng's movie "Sweeping Poison" once had a classic line: vow to go, enter the knife mountain, be bold, and pass a thousand levels.
I hope that Hong Kong movies can continue our feelings!