Sermon in the text. - Tang Tears
Who can save Hong Kong films?
Someone left a message saying, "Hong Kong movies will be completely finished from this year, whether it is Aaron Kwok, Andy Lau, Louis Koo or Nicholas Tse, they can't be saved." ”
Putting aside the ups and downs and successes and failures of the past decade.
At the beginning of the new year, Aaron Kwok's "Temporary Robbery", the acting skills exploded, and the reputation was acceptable, but it was limited to low investment costs and weak distribution power, and the mainland 2The box office of 3.7 billion can only be regarded as decent, Andy Lau's "Mr. Red Carpet" is a chicken feather, Louis Koo is still obsessed with traditional Hong Kong films, and Nicholas Tse has yet to prove himself.
Seriously.
Excluding the 60-year-old action superstar Donnie Yen, and Tony Leung, who is not too prominent in commercial films, these four people may be the most active and influential Hong Kong commercial actors at the moment.
Of course, it is not impossible to talk about it together.
Can they save Hong Kong films?
The first time the Hong Kong film industry shouted "save the city" was when "Infernal Affairs".
At that time, the goal was the Hong Kong market, so when the film won the annual crown in Hong Kong and broke the box office of 50 million, everyone felt very satisfied and thought it was a great victory, but in essence, Hong Kong films still inevitably went all the way.
At the bleakest time, for several consecutive years, the last place in the top ten box office lists in Hong Kong could not break the box office of 10 million.
The second time there was a "bailout" voice was ten years later.
This time, it was "Cold War" that took on the heavy responsibility and also won the annual championship in Hong Kong, but the difference is that the film also set a new box office record for Hong Kong films in the mainland.
In fact, everyone already knows that relying only on the box office in a corner of Hong Kong can no longer hold up the future of Hong Kong films.
So "Chills" became the new hope.
A few years later, its sequel "Cold War 2" not only won the annual championship again, broke the box office record in the history of Hong Kong Chinese films, but also pushed the box office ceiling of Hong Kong-style police movies to nearly 700 million in the mainland.
But that's not all.
A "Wushuang" hit a new high, blatantly breaking through the one billion box office.
People began to believe that "Hong Kong films are not dead".
Therefore, even though the quality is uneven, there are also "Anti-Drug 2: Showdown between Heaven and Earth", "Ip Man 4: The End", "Bomb Disposal Expert 2" and "Rage: Serious Case" broke through the box office of one billion, and set a new box office record by a slight margin.
If you change the angle.
The "Journey to the West" series of films led by Hong Kong filmmakers will also be included in the category of Hong Kong films.
As a result, there are at least eight "Hong Kong-style" style films, breaking through the threshold of one billion box office, so judging from the box office appearance, the Hong Kong film industry, which lacks resources, is not without the power to fight.
And when it comes to quality, looking at the box office list in the mainland, those high-grossing movies are also of varying quality, so Hong Kong movies are not as unbearable as some people say.
From the perspective of Chinese films, the mainland and Hong Kong have their own styles.
It's all to be polished.
Trends are an interesting thing.
From the perspective of movies, the rise and fall of commercial box office and word-of-mouth will bring subtle expectations to the value.
Just to give a few examples.
When "Embarrassed in Thailand" exceeded one billion at the box office, people began to realize the potential of mainland films, and then from "Blooming Heart", "Charlotte's Troubles", "Looking for the Dragon", to "Wolf Warrior 2", "Operation Red Sea", "Detective Chinatown 2" and "The Wandering Earth" and "Nezha's Demon Boy Descends", the box office has risen step by step.
When the Indian movie "Let's Wrestle! "Daddy" counterattacked and hit the box office, and people began to have expectations for Indian films.
When "Cold War" rose, and when "Wushuang" counterattacked and won the championship in the National Day file in the past year, people began to think that Hong Kong films do have a unique style and have the power to fight.
And then at the moment, a "Removing the Three Evils in the Week" is a shocking explosion.
Then next, the audience's expectations for this type of movie will inevitably have a significant increase.
This is the current situation of different genres of films in the Chinese film industry.
In any era, even with the ups and downs, although there is also the phenomenon of "bad movies and high box office", on the whole, the word-of-mouth, quality and box office of movies always have an inseparable and close relationship with each other.
And when it comes to the example of a trend, it's both positive and negative.
Therefore, it can explain why the current Hong Kong movies will be a noisy scene.
It's just common sense.
So back to the topic of "Hong Kong rescue films".
In fact, it is a cliché.
Whether it is any filmmaker in front of or behind the scenes, or any film company, whether it is a traditional Hong Kong style, or determined to produce new works, as long as you can control the quality of the pass, there will be a future.
Wang Jing said that Hong Kong films may be because they lack some kind of "resonance" with mainland audiences, so it is difficult for the box office to be extremely high.
This statement certainly makes sense.
Judging from the overall environment, it may be difficult for mainland audiences to empathize with stories that are limited to a corner of Hong Kong.
But there should be another layer of context to the movie.
Good works can always touch people's hearts, true feelings, not "instigated", marketing deception, there is probably only one time, so whether it is a filmmaker or an audience, there will always be a consistent direction.
And when you open the history of Hong Kong films, those good movies have long been recorded.
From "The True Colors of Heroes", "Wong Fei Hung", "The True Story of A Fei", "New Dragon Gate Inn", "East Evil and West Poison", "Sweet Honey", to "Dark Flower", "Storm and Clouds", "Dark War", "In the Mood for Love", "Infernal Affairs", "Kung Fu", "Father and Son", "Casting Names", "October Siege", as well as "Cold War" and "Wushuang".
These films include martial arts, urban, emotional, human, dark, fantasy, fairy tales, rivers and lakes, markets, history, war and police and bandits, crime, action and other themes and elements.
The so-called answer is here.
The current Hong Kong film industry.
If the filmmakers from the film companies to the filmmakers behind the scenes no longer have the ability to make really good movies, then the theory of "saving Hong Kong films" can be put to rest.
So in the end.
The theory of saving the city is not the power of one person, nor is it a city or a place.
There needs to be clusters of good works.
And where do good works come from?
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