Speaking of new martial arts movies, we can't forget Shaolin Temple, one-armed knife, Longmen Inn (old version) and drunken boxing, starting with the legendary swordsman in 1990. Most of the new martial arts movies are based on the completed martial arts novels, but the main difference from the original "martial arts" movies is the new visual changes brought by martial arts design and photography. New martial arts films developed around 2000. Movies such as Fengyun and Hua Hero, which were adapted from popular comics, used popular digital stunts to interpret the martial arts part of martial arts films in a more magical way. In fact, the latest variants of these martial arts films, their stories, characters, backgrounds, visual effects and shooting methods, have evolved to be quite different from most of the so-called "new martial arts films" mentioned below. If such super "luxury" films have not become the mainstream of martial arts films, then they are definitely qualified to be called "new and new comic martial arts films". The following will mainly select eight representative "model films" for comments, on the one hand, reviewing the history and classics of the new martial arts films, on the other hand, discussing the gains and losses of the new martial arts films.

The legendary swordsman 1

HK 199 1 Director: Hu Jinquan Executive Director: Tsui Hark, Cheng Xiaodong and Li Huimin.

Starring: Samuel Hui, Sharla Cheung, Cecilia Yip and Jacky Cheung.

Hu Jinquan, director of National Taiwan University, was well-known in the world film circle in 1970s because of "Empty Mountain and Spiritual Rain", and 1976 was rated as one of the six world directors. Hu Jinquan has made great achievements in expressing the artistic conception of China's traditional calligraphy and painting through the lens. Several of his masterpieces have been recognized by the world. The legendary swordsman, adapted from Jin Yong's masterpiece, is also his last work, which opens a new path for the new martial arts films in Hong Kong and Taiwan.

The film can't describe personal psychology and spirit as much as in the novel, and Ling Huchong is shrewd and slick; Yue Buqun just wrote "I am bad" directly on his face; Yingying is probably more disappointing to readers; Zuo Lengchan did not have the heroism and domineering in the original work, and even gloomy and cold did not get his marrow; As for the father-in-law role that is not in the original work, it is more typed.

In addition to the failure of these plays, the film also has many commendable places in the creation of pictures and atmosphere. Shortly after the film started shooting, the ancient father-in-law led troops to surround the dyehouse in Lin Zhennan, and several scenes with great artistic conception of Chinese painting were impressive. So is Zuo Lengchan's appearance. A flock of birds swept over the cliff in the afterglow of sunset, and several shadows flew down. Several shots create an excellent atmosphere. Besides, poems and songs, sword dancing, boat songs, etc. are all high-quality behaviors of traditional China literati.

The martial arts design of the film is freehand, which neither deifies China martial arts, but also basically conforms to the original work and the image of ancient chivalrous men. In the absence of excessive abuse of special effects, the martial arts of the film still satisfied many audiences. In the film, Ling Huchong's Huashan swordsmanship and Zuo Lengchan's hunting on the lake are both very obvious martial arts designs. Finally, Ling Huchong's Nine Swords of Dugu is unique, although it is worse than the dragon original without a beginning and an end.

2. Dong Fangbubai

Hong Kong Producer: Tsui Hark Director: Cheng Xiaodong

Starring: Brigitte Lin, Jet Li and Rosamund Kwan.

After Mr Hu's death, producer Tsui Hark and action director Cheng Xiaodong filmed the sequel "Dong Fangbubai" again. It's actually a sequel, and the plot has changed a lot. Mr. Jin Yong's original work is only exposed, and the essence of the novel can be said to be lost, which is a great change at best. However, the picture and martial arts defeat of the film are excellent, which once again set off a new climax of stunt martial arts films and became a film worth mentioning.

In this sequel, there are almost no absolutely positive characters, just a fierce Jianghu hegemony situation. This also shows that the two generations of directors have different sense of the times. In the film, not only Dong Fangbubai and Ren Woxing have their own ambitions and excuses, but even the protagonist Ling Huchong acts according to his own will, regardless of moral consequences. Looking closely, Ling Huchong and Yingying first met and had a doomed love affair with Dong Fangbubai. Finally, he seems to have retired with Yang Ge's Fusang. He is really a prodigal son, and he is unfaithful. Even for his own self-interest, he killed a group of other disciples on the eve of his retirement. Although this is unintentional, it can be considered unfair.

Tsui Hark was obviously dissatisfied with the simplistic and idolized description of Ling Huchong's infatuation in the original novel, and added these emotional entanglements. The ill feelings of Ling Huchong and Dong Fangbubai also laid the groundwork for Dong Fangbubai's true unbeaten.

Needless to say, Jet Li's martial arts movements are far less than his kung fu, and the depth is needless to say. The complicated relationship between characters alone is enough for him to deal with. Brigitte Lin always played some uncertain roles in the 1990s, but no matter how she looked at it, she still played her beauty, even if she was a little older, she could play a semi-old beauty of Xu Niang. There is no need to play these half-male, half-female monsters, who were ridiculed and joked by Stephen Chow in Dragon Shinto. Rosamund Kwan is still a poor girl who has been a vase for many years. Although this role is also a master swordsman, even a strong woman like the stall owner, she has achieved nothing after all.

Dragon Gate Inn

Director: Li Huimin Cheng Xiaodong, starring Tony Leung Ka Fai, Brigitte Lin and Maggie Cheung.

It should be said that this film is a rare serious work in modern new martial arts movies. From the theme to the script, from the theme to the details, it is a classic shot with a serious attitude. This film is a remake of Taiwan Province martial arts master Hu Jinquan's classic of the same name in the 1980s, which basically respects and retains the rigor and massiness of the original works of that era, and with the wonderful modern martial arts shooting techniques, it has achieved a new classic version of martial arts.

The eunuch rebellion in Ming Dynasty and the dispute between the East Factory and the West Factory are the favorite historical backgrounds of martial arts novels and movies for a period of time. A virtuous woman, a loyal minister and a warrior, has stood the test in this cruel historical environment, and of course there is no shortage of traitors. The complex human nature is extremely simplified in the cruel external environment, and the roles can be directly defined as good people and bad people, which are very clear and distinct, which is very suitable for the audience of martial arts movies to express their grievances through films. The Longmen Inn is different from or superior to other similar films in that it shows the complexity of human nature-although it is still simple compared with the so-called "literary film".

It is said that the psychological complexity of the characters is mainly revealed by Maggie Cheung's role of Jin Xiangyu. This distinctive character is by no means a simple classification of "good" and "bad". Zhou Ruian is in the square of Longmen Inn, juggling between the two heroines and the pursuit of the government. It is really a big suspense whether he can protect the lives of the two weak people and leave safely. Suspense makes the plot full of tension. Under the action of suspense and tension, all kinds of plot details are naturally arranged with ease, and the characters are fully displayed.

The excellent portrayal of the characters is one of the success factors of this film. Tony Leung Ka Fai, Maggie Cheung, Brigitte Lin and some supporting actors left a deep impression on the audience. For a martial arts movie, it is enough for the audience to remember so many characters after satisfying the temporary visual pleasure.

4. White-haired bride

Director: Yu Rentai, starring Brigitte Lin and Leslie Cheung.

The new version of "bride with white hair" is completely divorced from the old version and presented to the audience as a "new martial arts movie". Zhuo Yihang, played by Leslie Cheung, is no longer a coward who only Nuo Nuo dare not cross the line in the old version, but a heroic teenager who does something. Its psychological contradictions and conflicts are also full of weight, and the conflicts are more real and intense. It should be said that the audience generally appreciate the improvement of taste, which has played the most direct role in the breakthrough and change of martial arts films. Stories are no longer simple, characters are no longer simple, and conflicts and entanglements are no longer simple. This is the place where martial arts films should break through the most. When the film was released, it was said that there were two superstars' passionate scenes, which was a breakthrough in the new martial arts film. Although this kind of propaganda is understandable, in fact, the so-called "passionate scene" is nothing more than that, which has excited thousands of viewers in vain.

At the same time, the picture production of bride with white hair is also very exquisite. The costume scenery completely breaks through the traditional martial arts film mode, makes full use of the lighting to create gorgeous effects, and runs a martial arts world between reality and imagination by shooting almost supernatural films.

5. Hero Trio

Director: Du Qifeng Starring: Anita Mui, Yang Ziqiong and Maggie Cheung.

The new martial arts films began to expand their territory to modern cities. This trend, starting from comics, satisfies the audience's curiosity about boxing, palm, sword and machine gun Grenade, and the different environments of modern cities and ancient times can also provide more novelty and excitement for new martial arts films that pay attention to visual effects.

However, the modern city is not the best place to cast swords after all, so it was not until the Hero Trio that the best version mode was displayed for this kind of new martial arts movies. "Hero Trio", their identities are like Superman, Batman, Spider-Man and The Flash. In short, there are countless examples of this model in modern cities. This has laid a very good foundation for the Hero Trio to be accepted by more audiences, even western audiences, and the dazzling visual effects of modern oriental martial arts films have also brought more visual stimulation than Superman and other films. The functions of fighters, dancers and martial arts can all be accomplished through special effects, and physical beauty will bring the most direct visual enjoyment.

In the film, three young beauties cooperated to complete a duel with evil forces and formed the "hero trio" in modern urban legend. At the end, the three sisters are all dressed up in general, wearing black trench coats, all of which are ideas from comics, and also create a visual trademark for the hero trio. Hundreds of years of old monsters, invulnerable guards and invisibility cloaks all bring a certain degree of magical color to the film, and also pave the way for more visual impact stunts. However, these mysterious settings also greatly reduce the credibility of the film, but not as good as the new martial arts films in ancient costumes.

6. Tianshan Mu Tong

Director: Qian Yongqiang, starring Brigitte Lin and Gong Li.

In fact, Tian was basically chosen as a negative textbook by Mu. After a period of flooding, the new martial arts movies have reached the time of innovation and change. A large number of movies with similar themes, themes, characters, stories, special effects and even actors and actresses flooded the screen in just a few years, which made the audience who were still very interested tired of the martial arts screen full of cliches. Therefore, strengthening stimulation has become a means for producers and directors to happen to coincide, and Tianshan Children's Pasturing is one of the most prominent ones.

Watching Gong Li and Brigitte Lin fly in the sky, shooting and bombing like fighter planes, is simply a martial arts version of Star Wars. Tian Bu's stories have been changed into a mess, not to mention the complex theme of human nature.

Tian Mu marks the low point of the new martial arts movies. It was not until computer special effects were added to a greater extent that the comic new martial arts film was able to push the new martial arts film to a climax again. However, this new climax is also aimed at visual impact. Although stories based on martial arts comics have some new ideas, they also tend to be more simplified. The development direction and duration of this new climax remains to be seen, but one thing is indisputable: if the new martial arts films only pay attention to martial arts without chivalry, and only pay attention to visual effects without paying attention to the theme of the story, they will not have great development and progress and will soon be eliminated.

7. Fengyun

Director: Liu Weiqiang, starring Ekin Cheng and Aaron Kwok.

With the latest computer stunts, a comic adaptation of the martial arts movie "New Man" was completed, and Fengyun may be the first one. Although there is no detailed textual research, it is the most famous in the first book, and there will be no objection to it.

First of all, as a stunt martial arts movie "blockbuster", the martial arts scene in Fengyun can be said to be painstaking, trying to use all kinds of stunts provided by computers to break the inherent pattern of martial arts design in the previous new martial arts movies. The interception on the lake, the master duel of Shen Yuan's out-of-body experience, and the final duel were all ingenious and ingenious, which fully explored the role of computer stunts in Wushu. Compared with the classic "New Martial Arts Movie", this kind of martial arts movie belongs to the 2 1 century, the most remarkable difference is that it uses a lot of computer stunts. Not only has there been a great breakthrough in the martial arts scene mentioned above, but most of the lightness skill and posture in the film are done by computer. In addition, special scenes and paragraphs are added to show special effects, such as charts and monsters.

Perhaps, there is really no need to be so picky about a comic martial arts movie that is purely based on visual stimulation, but for me, it is worthwhile to have a little aftertaste after a movie is released. Too dull and superficial visual impact can never be compared with its rich imagination potential, which is not much different from eating a weird fast food bread.

8. Heroes of China

Director: Liu Weiqiang Starring: Ekin Cheng

Although the story is sheer nonsense and there are numerous loopholes, the visual effect of the film is absolutely "unprecedented". At this point, this "Chinese hero" really matches the aforementioned "Tianmu". The whole movie was caught in a wonderful stunt scene, and even almost all elements of the film, such as story, structure, image, characters and contradictions, were paralyzed by the radiant light of "man called hero".

This kind of film once again shows that special effects are absolutely impossible to make a new martial arts film. Let's work hard on stories, characters and the word "Xia".

9. Crouching Tiger, Hidden Dragon

Director: Ang Lee, starring Chow Yun Fat, Yang Ziqiong, Zhang Ziyi and Zhang zhen.

I don't know whether I am excited or sad to see the logo of Columbia company at the beginning of the film. What excites me is that a Taiwan Province native is shooting a traditional China story with American funds, and he is pursuing the most China flavor-at least he has tried. Sadly, Hollywood in the United States launched an attack on the deepest part of China's films. If China filmmakers don't work hard, Americans will take over your market and voice sooner or later.

It is not easy to do this, because poetry is conceived in simplicity. It can be seen that Ang Lee did make his own efforts in the handling of martial arts dramas. Except that the steel wire hanging on the eaves is too obvious, all the martial arts scenes are realistic, with both artistic conception and real feeling. Yuan Heping, as the first martial arts film, showed its uniqueness.

Look at Ang Lee's literary dramas again. Wang Dulu's original works have always attached importance to literariness, combined martial arts novels with romance novels, and changed the old framework of martial arts that only used stories to create conflicts into a new novel style that created conflicts by personality, which was a breakthrough at that time. When martial arts movies were popular a few years ago, most of them were old-fashioned martial arts "story" mode. With the help of Ang Lee, this movie became a real "martial arts movie". In this "literary" martial arts story, Ang Lee showed his concern for "people" in the martial arts world.

But there are also some regrets in the film. First of all, the description of Yu Jiaolong is rough, which only emphasizes her willfulness and does not fully explain and depict her own sadness. Luo Xiaohu's belated appearance makes the display of characters more superficial and sometimes even a little puzzling. The main characters in this film have changed from Yu Xiaolong and Luo Xiaohu in the original to the tragedy of a pair of lovers who set each other off. The lack of portrayal of Xiaolong's heart (which is related to Zhang Ziyi's performance) will inevitably lead to the imbalance of the whole movie. At the end of the film, Yulong and Luo Xiaohu lay down their lives to jump off a cliff (in the original, Jade jumped off a cliff in the name of laying down her life, and disappeared after lingering with the tiger for one night), and used their lives to atone for chivalry and escape the love tragedy. At this time, although I could understand the director's intention, I did expose the mistakes and carelessness in the adaptation.

Finally, it is worth mentioning that Tan Dun's music can play up the atmosphere and enhance the dramatic effect. There is no suspicion of usurping the role of the host, and people can feel it. It really won the essence of movie music.

10. Flying

Director: Yeong-jun Kim, starring Shen Xianjun, Kim Hee Seon and Wang Yanan.

A Korean film "Flying Dance" once again gives us hope.

Strictly speaking, this film is not very good either. The mixed martial arts style of Japan and Hong Kong, the very classical traditional love tragedy and historical background may not necessarily excite us senior martial arts fans. South Korea's crazy selling is just a bluff to their domestic audience. But what really makes us happy is that martial arts films are blooming everywhere in Korea. This large-scale martial arts film, known as the Korean version, also deserves the attention of domestic filmmakers and fans.

First of all, this is a tragedy. In the past, there were too few martial arts films that could be called tragedies. This year, we saw two. Secondly, this is a romantic film. In the past, most of the love components in martial arts films were auxiliary accessories, but this is a martial arts film that really describes love positively. In the final analysis, this is a sad love movie set in the martial arts world.

There are many traces of China's martial arts novels and old martial arts movies in the story frame of the film, such as the battle of martial arts secrets, killing orphans, Nangong aristocratic family and so on. In terms of fighting design, it is basically based on the new martial arts movies; However, in the scene atmosphere, I learned the style of Japanese martial arts movies. Absorbing the essence of martial arts films from various countries does not mean that it does not have its own style. Being able to harmoniously integrate these elements into a film has formed its own uniqueness.

In this film, which is advertised as "Romeo and Juliet in the East", the director tries to add some modern consciousness to the protagonist and Zhen, so as to enrich the characters and strengthen the drama conflict. Unexpectedly, it is self-defeating. For a long time in the middle of the film, the thought and behavior of harmony are very complicated, it is difficult to sort out the clue, and there are obvious axe marks, which is a great failure of the film.

1 1 time ashes

Director: Wong Kar-wai, starring Leslie Cheung, Tony Leung Ka Fai, Tony Leung Chiu Wai, Jacky Cheung, Maggie Cheung, Joey Wong, Brigitte Lin and Carina Lau.

Ashes of Time is an anomaly in a new martial arts movie. It takes the martial arts as the shell, but it describes the emotion, confusion, alienation and alienation of modern people.

As a new martial arts film, Time Has Changed borrows and reshapes an important figure who has always been regarded as a "collective myth" in Jin Yong's works, and reconstructs his own unique martial arts world with the previous mode. Although there are martial arts, chivalrous men, righteous acts and grudges, the structure, theme, narrative style and expression content of the whole film are very different from those of ordinary martial arts movies.

The film "East" has a strong sense of form. Although Du Kefeng is a foreigner, he has made great achievements in creating the artistic conception of oriental aesthetics, and his photography effect is also the best among the new martial arts films that have always emphasized the picture, which is likely to surpass and surpass Stella.

Of course, the most important thing is the content or theme of the film. In the film The Orient, almost all the traditional themes no longer exist. From some signs, the film "East" can be regarded as a discussion and reinterpretation of rivers and lakes and chivalrous people, and the film adopts the form of "prequel" itself with the intention of tracing back to the source. Everyone enters the Jianghu for various reasons, mostly because of love, which is the characteristic and symbol of Wang Jianghu. At the same time, these acts of love are also exclusive forms with the label of king-rejection and rejection. Under the cover of martial arts and Jin Yong's banner, Jianghu children have also become self-pitying white-collar workers in modern cities, playing confused love games in hiding.

Time has changed, which has opened up a new road for martial arts films, but this narrow road has rarely been taken so far, which gives another "alternative new martial arts" an opportunity to "go east and go west".

12. From east to west

Director: Liu Zhenwei, starring Leslie Cheung, Tony Leung Ka Fai, Tony Leung Chiu Wai, Jacky Cheung, Maggie Cheung, Joey Wong, Brigitte Lin, etc.

Even as an alternative, it is a bit reluctant and even selfish to classify "Going East and Going West" as a new martial arts movie. This super funny movie, which also claims to be a prequel shot by the condor heroes, completely dispels the ashes of time and is a bit tiger skin. All the serious or seemingly serious postures in Ashes of Time are pulled down by this novel, revealing shriveled thighs and dirty underwear. "Going east and going west" has become a mocking weapon for ordinary citizens to urban white-collar workers, and it has also become a tool for people in between to laugh at themselves.

If there is an artificial petty bourgeoisie mentality in Time has passed, then "Going East and Going West" is a complete mockery of the part where the monkey won the championship. Many serious stars in "Evil Poison" have restored the funny roles we are used to in "Achievement" and played the role of ordinary citizens who are good to us. After all, it's no longer the time when heroes and bandits are in power.

The frank gestures and stunts in "Going East and Going West" are a rebellion against the whole new martial arts film. The film "Fantasy without Phase" is really illusory, and the fantasy battle with Tony Leung Ka Fai and Yang Zhi is clearly a gun battle, so I can clearly tell you how the new martial arts film was made. As for the jokes such as "Affectionate Knife", "Sword Eye to Eye" and "Dry Wood and Fire Palm", it is not only a mockery of the whole new martial arts film, but also directly points the finger at the initiator Jin Daxia. The old urchin seems to have practiced leather shoes and fencing, and his brother is still not clean. The sissy Nandi finally ascended to heaven and became Jigong. Jiuyin Zhen Jing was originally carved on the toilet, and a lot of such teasing made people laugh wildly, which was hard to digest.

Of course, "Achievement" has no ambition to dissect and fight against "evil poison", let alone to innovate the life of martial arts movies. Everyone is just playing, but in the eyes of us bystanders, maybe those who laugh at themselves and ridicule us for "making" new martial arts movies are just announcing the decline and end of the era of new martial arts movies.