My Hong Kong Island Filmmaker

Chapter 264 Mirror Display
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Dark night, rain, black umbrella, black clothes.

The white of the camera is calm and gloomy, just like a lonely ghost returning from hell.

The slow motion moves slightly horizontally, with the slightly hasty snare drum beat and the melodious bagpipes, and the whole shot actually captures the epic sense rarely seen in Hong Kong Island movies.

In "Young and Dangerous", Wu Xiaozu experimented with this very romanticized group portrait lens, but at most it was a taste of it.This time, he cooperated with Pan Hengsheng and presented a "mirror image" feast.

Zhou Runfa held an umbrella in one hand, and the water droplets were processed in slow motion and rendered in post-production, like a natural foggy mirror, which escaped from the
The man in "Sea Prison" exudes a rare sense of sadness.

Standing in the torrential rain, a thunderbolt struck down, and Zhou Runfa's face appeared in front of the audience.

Frowning tightly, forming a "Chuan" character, he looked gloomy at the brightly lit room not far away.His expression is exactly the same as before the face change, making the audience feel dazed and very sure that the person in front of them is the policeman standing in front of the French window at the beginning of the movie, frowning sadly.

face, changed.

Heart, will not change!
Some people say that it is difficult to paint the skin of a tiger, but Zhou Runfa used his strong and mature acting skills to express the state of the police after changing his face.

He escaped from the prison with the face of an enemy——he came back!

His wife regarded him as an enemy, his daughter regarded him as an enemy, and his colleagues regarded him as the culprit who did all kinds of evil.

The insider who knew his identity fell into a coma and became a vegetable.

His current state is that of a hostile wild ghost.

The music of "Merry Christmas" was slowed down a few beats, a little less cheerful and a little more sad.

The songs sung by the childish voice slowly rose.

In the montage picture, in front of his eyes is the picture of his son lying in his arms being tickled and joking with each other.

boom!Blood spattered on his face.

A thunder!
In the montage, the son's face slowly shatters in the night sky.

"I am back."

Accompanied by the rushing drumbeat of the soundtrack, Zhou Runfa turned his head again, "Are you ready?"

……

Jingle bells, jingle bells...

In the restaurant not far away, Liang Jiahui was wearing a decent tuxedo, like a decent gentleman.

Holding a glass of cherry-flavored champagne in his hand, with cynical profanity in his eyes, he looked at the gentle and virtuous 'wife' and the youthful 'daughter' with a pair of peach buttocks in front of him.

The fingers casually pressed down the record pointer lightly, and the cup was flung to the carpet on the side recklessly.

The camera zoomed down for a close-up, and shot the cup rolling round and round. In the camera, the man's feet approached the woman's high heels, and suddenly... the woman's feet were lifted into the air——

"Da da da--"

The passionate cha-cha dance sounded in the record player!
"Peach, come and dance."

Liang Jiahui's slightly hoarse voice was full of teasing and inexplicable excitement.He twisted his hips, stepped on Chacha's dance steps, walked towards Lin Qingxia, raised her chin with his fingers, turned his head suddenly, glanced at the bewildered daughter next to him, blinked his slender eyes, "Come on baby, accompany me How about a dance with Mom and Dad?"

Dancing wildly, the whole person danced with great joy.

The mother and daughter looked at each other and shrugged each other.

Click!

There was a loud thunder, Liang Jiahui raised his head with a smile, and looked at a familiar figure not far away.

Tilting his head slightly, his eyes were full of mischief and evil, then he hugged his "wife" and "daughter" intentionally, smiling wildly.

"I'm going to see if the Christmas meal is ready..." The wife smiled softly.

Liang Jiahui tapped his brows with his fingers, gestured his face towards the familiar figure not far away, and then showed a little innocent expression between his brows.

Zhou Runfa, who bit his cheek into Wade, had cold eyes, full of irrepressible anger.

After changing his identity, 'Liang Jiahui' became the hero of the police station, pretended to be Liang Jiahui and became a hero, and enjoyed his wife, and at the same time arranged for the police to kill 'Zhou Runfa'.

The whole thing took a turn for the worse.

Click!

Another thunder-

Illuminates the surroundings of Zhou Runfa.

A bunch of black umbrellas stood behind him, everyone was dressed in black and black trousers, and pulled behind him in a very elegant position.

Using lighting effects to express the interpretation of the space by the station is a labeling technique of Wu Xiaozu.This scene is no exception. With the lightning flashing, the audience will see the flashing position behind them.

The "friends" standing behind stared coldly at the spot, and the whole picture was full of ritual and epic sense.

The two people who switched identities looked at each other from a distance.

One danced lightly with his "wife" in his arms, while the other led people to look at him from afar.

This ceremonial stance itself indicates an implicit "choice" and "bonding".

When the camera gives the other party an objective lens, it is mixed with their own subjective lens.

Through the inheritance of the "little habits" after the two actors exchanged identities, the two people are actually clearly expressed through the detailed description.

In the first few 10 minutes, the two kept fighting each other.

The standoff where the plane exploded.

The first showdown since the identity swap in prison.

Engagement during capture.

Every time, the two of them bring sensory and psychological stimulation to the audience wave after wave.

"The weather is quite interesting, have you noticed it?

Before Liang Jiahui changed his face, and before the identity swap was destroyed, it was always sunny when the police came out.

When the face-changing is out of control, dark and rainy days become the norm. "

Fang Baoluo wrote and drew to the side, and Lu Yanhua, who devoutly recorded his feelings, said: "Wu Xiaozu's shots really have the feeling of an epic movie.

This is the first time I have seen this kind of 'mirror image' in Hong Kong Island filmmakers.This is very similar to Akira Kurosawa's "Rashomon".

In Akira Kurosawa's "Rashomon", the two sides identify each other as the murderer.Isn't it the same this time?I still remember a group of shots in that movie that I remember deeply:
The heavy rain pours down, the smoke is misty, the picture of Toshiro Mifune, Chiaki Mi, and Shimura Joe standing under the Rashomon.

This group of shots on a rainy night also has an extraordinary sense of ritual. "

"Day and night, it's a sensual psychological suggestion.

In fact, Wu Xiaozu showed many amazing psychological hints in this "Twin Heroes".

The previous 'X' icon, the camera change between day and night, and the small movements of the character itself, the policeman used to like to frown, but now Chow Yun-fat plays the policeman after the face change, and still retains this habit, making it easy for the audience to distinguish play a role.

The whole movie is not only a passionate gunfight movie, but also a good textbook that renders the atmosphere, environment and characters to the extreme!All filmmakers in Hong Kong should watch this movie. "

Wu Chui, Lu Yanhua, began to act as a supporter.

This kind of appearance that has never seen the world is not uncommon in Hong Kong Island movies.There is such a lot of piss that "Hong Kong movies can't produce Wu Xiaozu, literature and art are like a long night..."!
"It's really wonderful!"

The other film critics beside him nodded wildly, "Director Wu deserves to be the representative standard-bearer of the post-new wave!"

In this way, blah blah, a few people raised the excitement of "the end of the world is like a neighbor, my surname is Wang".

In this "Double Heroes", the audience saw the refreshing feeling, the filmmakers saw the innovation and skills, and the film critics saw the feelings and metaphors.

A good movie can always attract different people with different aspects.

Many people even feel that there are metaphors alluding to [-] in this movie.

In the 80s and 90s, most Hong Kong films showed confusion and worry about the future, which can be clearly seen from many details.

This kind of confusion may be an unreasonable thing in later generations, but it was true in the 80s and 90s, when the gangsters had not yet breed.

First, there are naturally film creators who do have concerns about the situation.

Second, it is naturally a big ticket holder for kitsch, especially Wanwan.

Some people say that there is no need for a kitsch inspection office?

The reason why film classification has a long way to go in the mainland is not only because the consequences of the classification system violate our laws.For example, the dissemination of obscene information is prohibited by law.

Therefore, unless supervision is really in place, classification is unrealistic in the short term in the Mainland.

Another reason is that there is no special situation in the inspection office for rated movies, and it is not allowed to say NO to movies!In other words, he cannot refuse you to show or block you.

This may also be a relatively difficult task for the inland prosecutor's office.

In the eyes of different people, there are different Jay Chou and Da Mu, there are different Lao Bi and Yamagata Ken, and there are different Sakurai Liya and Zhang Shaohan...

This is the case with the movie "Double Heroes".

Some people saw the surging blood, while others saw the implied metaphor.

The art of film is that everyone has everyone's attention.Through self-observation, discover different points of attraction.

A good movie must have thousands of interpretations and viewing angles.

...

The plot of the movie continues.

In the last large group scene, several people confronted each other with guns like Russian roulette. After a wonderful fight, Zhou Runfa and Liang Jiahui rushed into a room in the playground where "Nicholas Tse" was killed.

"Swipe! Bang—"

Zhou Runfa suddenly raised the gun towards the opposite side, watched the same person on the opposite side raise the gun, and pulled the trigger without hesitation. In an instant, a glass shattered, followed by the sound of gunshots and glass shards.

At this moment, the camera looked around, and countless mirrors were randomly placed in the room.

"brush!"

Liang Jiahui pointed his gun at the mirror, and in the mirror was his most familiar face——Chow Yun-fat's face was refracted in front of him countless times by the mirror.

"Dengdengdeng...dengdengdeng..."

A piece of pure music soundtrack of "Berlin foot chase", which is very classic in later generations, sounded, which made the audience nervous.

This soundtrack comes from a very classic series of movies in later generations-"The Bourne".

The atmosphere is getting tense.

In this episode, Wu Xiaozu adopted a tilted frame composition, so the portraits reflected on the mirror are also tilted shots.This kind of shot itself reflects the tense and subversive mood of the two protagonists.

To bring order out of chaos, we urgently need to set things right!

The feeling revealed by this slanted composition also made many people feel the thick to viscous talent exuded by Wu Xiaozu!

This use of mirrors is not original by Wu Xiaozu. Before that, the great director Tarkovsky's "Mirror" can be said to really let people appreciate the master's wonderful use of mirrors.

Wu Xiaozu captures the "mirror image" through the mirror, more through the lens to the mirror.In later generations, Yang Dechong's "Yi Yi" in the mirror is also full of talent.

Metaphors of the character's psychology, complex and various lens processing, this scene is enough to make colleagues feel ashamed.

In order to shoot this scene, Wu Xiaozu deliberately spent hundreds of thousands to build a special shooting room.The camera position of the lens is tight to the point of harshness.

"Mirror……"

Wang Jiawei, who was sitting under the stage, suddenly turned his head to Liu Zhenwei and said happily: "I feel that this mirror shot is really amazing!

The two protagonists look at themselves and their faces in the mirror, maybe it's not the pursuit of the true self!

The use of mirrors can give the film a sense of layering and convey psychological feelings, which is really sharp.A show of genius! "

Wang Jiawei has seen Wu Xiaozu's magical effect of the mirror, and he was deeply impressed.

If you watch Lao Wang's movies in later generations, you can basically sum it up as "what Wang Jiawei and the mirror must say!"

　5.20, have you confessed to your loved one... Tsk tsk!Humph, I'm going to make medicine and milk powder for my son...

　　
　
(End of this chapter)