The author of this article: Li Xiaotian
The crotch pulling of Hong Kong movies is something that every audience can see.
I think that at the beginning, Hong Kong films were able to become a creative highland for world films, because he had his own temperament. The temperament of Hong Kong movies is very important in brotherhood.
Whether it is a gangster film, a police film, a crime film, or even a martial arts film, brotherhood is a strong stroke in Hong Kong movies.
When it comes to the roots, it is also very simple, that is, during the peak of Hong Kong film creation, gangsters who were eager to transform were heavily involved in investing in film production. If you have money, you are the uncle, and whoever pays is in charge. On the one hand, killer characters and stunned boys from gangs have become a large number of male protagonists, on the other hand, brotherhood has become an endless topic, from the early Dillon Jiang David, to the later Chow Yun-fat Li Xiuxian, and then the later Haonan pheasant, etc., all of which are so.
This is like what Wang Hailin said, he misses the period when the coal boss invested in movies the most, because the coal bosses have no other requirements except for asking for actresses, and they will not interfere in the creation of the choreographers. Because in the thinking of the coal boss, you coal boss people are on the ground, don't interfere in the underground mining work, because unnecessary intervention will kill people. Therefore, the big boss who is upstream will not interfere in the specific work downstream.
It's all the mindset of the boss, and they'll project their thinking into the movie. The situation in the mainland is that the coal bosses don't invest, but they don't leave their legacy. Gangster investment in Hong Kong films, as the gangsters who made money from investing in film and television have been laundered one after another, they continue to invest in film and television, as a legacy, and keep these things like brotherhood well. Like the later Galaxy Images, there are no gangsters involved, but many of the ** produced by Galaxy Images still have a strong legacy left over from the ** period of Hong Kong movies, and the taste is very positive.
But in the 1990s, Hong Kong society has passed a period of rapid development, entered a stable period, the social structure tends to be stable, and there is no place for the elderly. **The opportunity for direct investment in Hong Kong films has largely ceased to exist, and the direct impact has disappeared.
What's more regrettable is that Galaxy Images, which can best inherit the legacy of Hong Kong gangster films, has not been able to hold on, crumbling, and its operation is not good at all. In addition to it, no one can make a Hong Kong-style movie with deep brotherly love.
Hong Kong gangster films, police films, and crime films have not completely fallen, and they are still being filmed, but everyone gradually doesn't like to watch them, especially in the past two years, Hong Kong blockbusters released in mainland cinemas, even if they are starring Louis Koo, ** Yun, Zhang Jiahui, Aaron Kwok and others, they can no longer attract the audience to watch.
Why?It's just that the taste is not strong, and no matter how these films are shot, they seem to be the same taste, like chewing wax, and I can't stand it.
At the peak of Hong Kong films, when brotherhood is the core, the character's profession is not important, so it is often seen that killers and police officers will become good friends, and people from different gangs and camps can also become good friends, as long as they are righteous enough, as long as they are friends enough, everything is easy to say.
But in the current Hong Kong films, the police are the police, and even the undercover agents have a righteous image, and the confrontation between the police and bandits is more serious than the confrontation between the police and the bandits in the classic theme films of the mainland. The police do things for the sake of natural justice, and there is no reason to talk about it. Traditional Hong Kong films are moral, and the justice in the heart of the individual is far greater than the justice of the law.
When the Hong Kong police in Hong Kong movies all look righteous and awe-inspiring, not to mention that mainland audiences do not accept it, and Hong Kong local audiences do not accept it either. In particular, the blind tossing and turning in recent years has greatly damaged the image of the Hong Kong police. It looks very embarrassing to play like this again in film and television.
The embarrassing result is abandonment.
Hong Kong movies, no one watched them. It's not that bad, but no one is watching. "Cold War", a film that accumulates stars, can only be played once, and the second word-of-mouth and box office will come down.
This has forced Hong Kong filmmakers to come up with more ideas and show the greatest sincerity.
Musou is the best proof of this.
When Zhuang ** took out his strongest brain and weaved a super creative story, the public still accepted it, was still willing to watch it, and was happy to give him a high reputation and high box office.
The other is to push the licensed goods to the extreme, so that everyone can show their best state and be recognized by the public. "Rage: A Serious Case" is another example, when Chen Musheng showed the best state of his directing level, Donnie Yen and Nicholas Tse also showed their professionalism, and everyone filmed seriously and entered the state. Although the final film is still a bit cheesy, everyone is willing to watch it, and they are willing to pay for it, and they do not hesitate to give Nicholas Tse and others recognition.
"Wushuang" and "Rage: A Serious Case" are already the only two films in Hong Kong traditional films that can be won in recent years.
This year's Hong Kong movies are basically wiped out in the mainland, none of them can be beaten, and the last one hit the street, which is basically the kind of movie that is not bad, but there is no wave after watching it, and they are all standard licensed goods.
At the end of the year, I thought that this year's Hong Kong films would be like this, and there was no hope. I didn't expect "Angry Tide" to appear, and it was actually not bad.
In terms of the creativity of the story, although it is far inferior to "Wushuang", the repeated reversals of the plot still have a lot of new ideas.
The first stage of the story of the film is that Hong Tai (Qin Pei), the boss of Hongtai Group, wants to transform and enter the political world, intending to hand over his business to ** people.
The ones who can ** are the four big King Kongs under him, Ovalon (Wu Qihua), Ugo (Ma Yuke), Wang Ruopu (Lian Kai), and George (Chen Guokun).
Hongtai plans to hand over the management of the company to Ovallon. However, on the day of the transfer of power, Ovalon disappeared and was kidnapped.
Who did it?When Hongtai announced that he would hand over power to Ovallon, Wangruo Park shouted for approval, but Ugo clearly disagreed.
So, was it Ugo who kidnapped Ovalon to prevent him from ascending to power?
Wang Ruopu pointed directly at Ugo and thought that he had done it. Subsequently, Wang Ruopu said that he would investigate to the end to see if it was hired by Ugo.
The ** who was hired was Chen An (Zhang Jiahui), whose person is he?
When Wang Ruopu was clamoring to find Chen An out and ask him who he was. Chen An took the initiative to send it to the door, and actually arrested Wang Ruopu as well
And that's not all, he also attacked Hong Tae, injured Hong Tae, and sent him to the hospital.
Is it really Ugo who did it?Not only did he get rid of Ovalon and Wangruopu one after another, but he also wanted to kill Hongtai, so he was so eager to get to the top?
Ugo is also the adopted son of Hong Tai.
When everyone was suspicious of Ugo, Ugo knew that he was not, and the killer Chen An was not hired by him.
So, who is it?
Ugo believes that all this is a bitter ploy by Hongtai.
Hong Tai himself wants to transform into a politician, and naturally he doesn't want the dirty business he runs to be **, so he wants to kill people and kill all the people who know his past.
Ugo felt that it was Hongtai who killed Ovalon first, and then Wangruopu. Then, next, the goal must be yourself.
Therefore, if Ugo wants to survive, he will have to fight back. So, he planned to kill George and Hong Tai and take the throne himself.
And Hong Tai in the hospital, the injuries he suffered were really fake.
He was going to kill Ugo.
So, he sent George with a large group of men to deal with Ugo.
In terms of IQ and force, Ugo was naturally not Hong Tai's opponent, and naturally died at the hands of George.
However, it was not Hong Tai who hired Chen An, but the little policeman Mai Lang Van (Nguyen Jing Tian), who had been pestering Hong Tai all the time.
Moreover, the cold-blooded bodyguard Ma Wenkang (Wang Dalu) next to Hong Tai is also an undercover agent of Mai Langwen.
It turned out that on the land where Hong Tai lived, Hong Tai, the police chief and the boss of the Legislative Council were all black and rotten cubs.
As a small policeman, McRamven wanted to clean up here, but he was powerless and alone.
In order to find help, he found Chen An and Ma Wenkang.
Because Chen An, Ma Wenkang and a man named Chen Le (Chen Xiaoyi) grew up together in an orphanage and depended on each other.
However, Hong Tai's men robbed Chen Le from the side of the road in broad daylight. Because Hong Tai's daughter Hong Sally (He Xinlin) is guilty of a serious heart attack, she needs to find a matching heart for transplantation.
Unfortunately, Chen Le was chosen, she was captured and killed, and her heart was transplanted to Hong Sally.
Chen An and Ma Wenkang, who were in pain, decided to fight back.
McRambon found them.
So, the three of them began to divide the labor. Ma Wenkang entered Hongtai Group as a bodyguard and became the first thug around Hongtai.
Chen An lived on the bright side and became the executor of revenge.
McLanven is constantly looking for evidence, which is enough to subvert the evidence of crime and corruption in the entire **.
The final result of the film is naturally that Chen An + Ma Wenkang + Mai Langwen won, at the cost of Ma Wenkang's death.
The plot of the entire "Tide of Rage" has such twists and turns, and the mastermind has created enough surprises and shocks for the audience between the transition between Ugo, Hong Tai, and McRambun.
The story is still quite good.
However, the performance of the actors in the film is not very good, it is said that the three protagonists Chen An + Ma Wenkang + Mai Langwen are very dramatic, very deep, you can dig well, you can also perform well, and fully show your acting skills. However, the performances of Zhang Jiahui, Ruan Jingtian, and Wang Dalu are all average, and there is not much difference from the characters in other Hong Kong films, which seriously drags down the reputation of the whole film.
Of course, this has something to do with Ma Yuke's directorial level. Obviously, he is very ambitious, but he doesn't have enough control, he doesn't have strong training ability, and he doesn't force the actor's acting skills out of the state.
So, "Tide of Rage" is only half a good show.
It could have been better, but it turned out to be a bit embarrassing.
In any case, "Angry Tide" is already the most watchable traditional Hong Kong film in 2023.
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