Hu Jinquan We have seen the status of Taishan Beidou in the film and television industry for more than 30 years.
He once showed us how magnificent the scenery on the other side of the mountain was, and demonstrated to us how lively and magnificent the traditional drama art and chivalrous world that disappeared under the treatment of modern film concepts and techniques.
He is fully capable of filming kitsch fantasy martial arts and kung fu comedy, but he does not do anything. He chose the rugged "literary and artistic martial arts style" to reach the peak.
What kind of dream life is this?
has a high evaluation and influence
In the documentary "The Search of Art: Ang Lee Talks about Hu Jinquan", Ang Lee said that Hu Jinquan was one of the first people in China to notice the artistic nature of movies, and was determined to express China's traditional culture in movies, believing that he was influenced by it, especially the "spiritual" in Hu Jinquan's movies.
In his film "Crouching Tiger, Hidden Dragon", Ang Lee paid tribute to the famous bamboo forest scene in the movie "The Legend of the Condor Heroes".
At the Hu Jinquan Memorial Exhibition, Tsui Hark said in an interview that the Jin Yingyu in " New Longmen Inn " is equivalent to a "some kind of tribute" to director Hu Jinquan, and a portrayal of a certain behavior that broke into Hu Jinquan's film world. He believes that the scene in "The Legend of the Condor Heroes": "No one can remake it until now. Hu Jinquan is a giant in the film industry many times stronger than us."
" The Drunken Hero " is the representative work of Hu Jinquan's early films and the earliest movie in Chinese-language films to use martial arts to guide it. It has become a pioneer of Hong Kong's new martial arts films in the 1960s. Together with Zhang Cheung, Chu Yuan and others, the style of martial arts films at that time was rewritten.
In 1971, Hu Jinquan filmed "The Legend of the Condor Heroes", which won the Supreme Technical Committee Award at the Cannes Film Festival, which earned him a worldwide reputation.
Hu Jinquan's movies are praised by many movie fans, and directors such as Ang Lee, Tsui Hark, Ann Hui, and Hou Hsiao-hsien were influenced by him. The veteran actors such as Xu Feng , Shangguan Lingfeng, Zheng Peipei , Baiying , and Shi Jun , who have worked with him many times are also supported by him.
Of course, when it comes to Hu Jinquan, in addition to the popular "Longmen Inn", it is "The Legend of the Goddess".
recently re-watched "The Legend of the Goddess". Even after so many years, I still feel pleasing to the eye.
After the night battle in Tunbao, Gu Shengzhai waved his fan on the broken city tower and laughed wildly. He patrolled the battlefield proudly, recalling his military strategy, and stepping on the corpse, only then did he realize that many lives had died. He was more frightened than regretful about killing. The monks burying the Dongchang man who was more than dead. He only cared about the woman until he fell in front of me.
This is a more important scene in Hu Jinquan's representative work "The Legend of the Condor Heroes". The involvement of Gu Shengzhai, a scholar in the small county, was just an experience in his life. "The Heroes" is not only a political persecution, but also a strange story in the world.
Hu Jinquan uses movies to describe the panoramic view of traditional Chinese literati’s life: ideals, reality, nightmare, fame and fortune, literature and art, and wastefulness, understanding everything and finding a way to adapt.
But in terms of Chinese films, the integration and development of films and national culture advocated by Hu Jinquan is a work that is against the current and lonely.
Hu Jinquan should be the last generation who is close to traditional life and literary atmosphere. He uses film art to continue the incense of old culture and displays many wonderful and scientific skills. Judging from his representative work "The Legend of the Condor Heroes", it is difficult to avoid the traces of axe-chief.
There is still a world besides landscape painting scrolls. Movies tend to be realistic, montage and time limits, and there are indeed shortcomings. , but the temple power struggle developed to "Empty Mountain Spirit Rain", the desire illusion of " Legend in the Mountain ", and the reluctance and affectionate work "The Painted Skin: Yin and Yang Dharma King" can be seen, which shows that Director Hu's overall work always focuses on exploring human nature.
is suddenly compared to the white horse, and the meaning is called the backward journey. The page is a condensed version of human nature. Hu Jinquan has mastered the short film time and space, entrusting his understanding and cherishment of the world.
Hu Jinquan's film art career
Hu Jinquan's film art career at first glance looks quite similar to his film style.
often has a long brewing period, ready to go, and once it is flying, it may be full of color or light, and then there will be a long silence. Intermittently stagnate, work hard, return, and transcend, virtual and real generation, and movement and stillness alternate. In 1965 and 1966, he became famous after filming "The Children of the Earth" and "The Drunken Hero".
has begun to conceive "Longmen Inn". Hu Jinquan left Shaw Brothers and went to Taiwan to experience many obstacles. He completed 50% of the films of "Dragon Gate Inn" in 1968, and has since jumped to the Dragon Gate. After that, there were two or three years of silence, brewing and striving. began to launch "The Legend of the Goddess" in 1971, and it was full of inspiration again.
However, since its release, "The Legend of the Condor Heroes" has been treated coldly by Chinese audiences and the film and television industry. It was not until 1975 that he won the award from the critics.
In recent years, he has worked hard to complete two masterpieces: " Yingchun Pavilion's Storm " and "Loyalty and Martyrdom Picture", but neither of them have gained favor.
But after 1975, he was full of energy. His new and old works participated in international film festivals and were selected as one of the world's five major directors in the 1978s by "International Film Guide". After , he married talented girl Zhong Ling and . At the same time, he filmed two films "Empty Mountain Spirit Rain" and "Legend of the Mountain". After
, love and career are both smooth, and shadow art is like climbing to the peak to watch the sunrise, and golden light travels through the sea of clouds.
Hunting "The Drunken Hero" in 1996, Hu Jinquan's style of works has begun to integrate the stage, characters and action dance of opera.
"Longmen Inn" creates a strange drama in a sealed space, and allows the film camera to walk in the mountains and ridges. The two films achieve their basic style and innovate the genre of martial arts movies. Although various elements of "Longmen Inn" have been copied and misappropriated countless times in the past forty years, Hu Jinquan's original version is still the most powerful.
Although the story of "Longmen Inn" seems simple, the two factions with clear barriers have only one goal, Hu Jinquan actually has a very accurate grasp of the details. This can be seen from the editing of "Longmen Inn".
"Longmen Inn" is actually not composed purely by dense and fast editing. I think what is more important is the sense of rhythm behind the editing.
"Longmen Inn" uses the Peking Opera music familiar to Hu Jinquan, and the movie cuts out a moderate rhythm against the backdrop of the beat. The martial arts scenes of "Longmen Inn" include cutting as fast as lightning, and slow track push shots. The rhythm changes in
movies are obviously richer than other martial arts movies, and are more effectively conveyed to the thrilling atmosphere of safety and danger that the film wants to express.
, and "The Legend of the Goddess" is a conscious and ambitious interpretation of history and literature, and is a sublimation of the genre.
video starts with a spider web and ends with Nirvana. The former is a dream or a world, while the latter is the desire of the spirit. After Gu Shengzhai got his son, he did not reveal his appearance much. The battle between loyalty and treacherous and desperate, and the enlightenment of the monk's death was the continuation of his thoughts. His present life expanded into a metaphysical Tao. All the five-color sounds on the screen are the lives and conscious activities of literati.
Hu Jinquan's artistic skills
Hu Jinquan also enjoys a different kind of interest, continues to evolve opera art, forge the spirit and different programs of martial arts movies.
In addition to the Donglin Party and the Eunuch Party, this clip was actually very cleverly shot. Sometimes Zhuge Liang, sometimes Tao Yuanming's literary background, and Hu Jinquan's play will never forget satire. There are also various small characters such as vendors of various colors, talkative mothers, woodcutters who run to report to officials, etc. There is no play without a supporting role. This is a world of all-inclusive world. The most obvious value of "The Heroine" is undoubtedly that Hu Jinquan focuses on managing human struggles and the Confucianism and Buddhism . Since then, "The Spirit Rain of the Empty Mountain" and "Legend of the Mountain" focus on traveling around the ancient temples of mountains, rivers and rivers, and the artistic conception is more beautiful and mysterious.
But "The Legend of the Goddess" is grand and shows the artist's vision and progress.
, "Longmen Inn", filmed in 1967, is far less famous than Xu Laoqian's "New Longmen Inn". Then, "The Legend of the Goddess", which was filmed three years later, was obviously better. It can be seen that Hu Jinquan has been surpassing.
The biggest feature of Hu Jinquan's movie is that he keeps walking, like a destined walker, pursuing the state of freedom and freedom in the long road.
From this aspect, we can see that Hu Jinquan pays great attention to the details of the movie.
Hu Jinquan said: "My movies focus on details, and all the details are movies, which is called the sense of movies."
Hu Jinquan's movie is cut very well and fast. If the audience's eyes cannot keep up with Director Hu's scissors, they have to watch it slowly, otherwise they will miss the details, that is, they will miss the entire movie.
The reason why Hu Jinquan pays attention to the artistry in the movie is that his movie draws on many elements from traditional opera, especially the sound of the gongs used in his movie soundtrack is particularly praised.
Hu Jinquan has been quite researched in the history of the Ming Dynasty. Most of the martial arts films he filmed were concentrated in the Ming Dynasty. The design details of many of the costumes, houses and other props in his movies have been carefully studied.
In the film and television industry, Hu Jinquan is known for his seriousness. He spent tens of millions of NT$ on filming "The Legend of the Goddess" to produce ancient street scenes. During the filming of the film, he often spends a lot of time and manpower to wait for the right weather.
The outside world has different praises and criticisms
In the meantime, some people may criticize Hu Jinquan's works for being thin, focusing only on form but less on content.
Checking the film reviews of that year, this argument can be seen. For example, Shi Qi once pointed out that the story of "The Storm of Yingchun Pavilion" is loose and refuted, which is difficult to convince people. After filming "The Legend of the Goddess" in Taiwan in 1970, Hu Jinquan returned to Hong Kong and collaborated with the famous Jiahe Company to start filming "The Storm of the Spring Pavilion" and "The Picture of Loyalty and Martyrs". The production time of the two pieces of
overlaps, and can be regarded as a sister work written by Hu Jinquan in parallel with the left and right bows, one inside and one outside, one looking after each other. Both films are far inferior to "The Legend of the Condor Heroes" and "Longmen Inn". So is his Hong Kong stage a bottleneck and low tide, still trapped in the familiar inn storm?
In fact, it is basically true that Hu Jinquan's movies are not strong in the plot. Many of his movies revolve around a simple and direct situation. Taking "The Storm in Yingchun Pavilion" as an example, it is about the Yuan Dynasty prince Richardhan and a group of anti-Yuan patriots meeting in the inn to compete for the military deployment.
From this we can give a glimpse into the form of Hu Jinquan’s movie, which is the content. Obviously, form and style occupy an extremely important position in Hu Jinquan's works.
However, we must agree without thinking that if Hu Jinquan's movie is really simple and simple enough to see at a glance, or his movie is just a complicated craft practice and demonstration, then his works will not be so classically passed on.
Hu Jinquan is naturally amazing because his "simplicity" hides countless ingenious craftsmanship.
Hu Jinquan is definitely not a person who only cares about skills and style. It is obvious that this is the same as the director of , Tan Jiaming, , which is as famous as the director of , Tan Jiaming, .
Both directors are good at beautiful photography and sharp and fast editing. mainly cares about the characters and their emotions in Tan's works. However, in Hu Jinquan's works, no matter how the world collapses, we will see the creators' care for the characters and see the details of each character portraying .
In fact, when watching the inn drama "The Storm of Yingchun Pavilion", each of the distinctive characters come in large numbers, which is a kind of lively and energetic vitality that is not easy to see on the screen. Before the first half of the prince appeared, the lurking patriots waited for an opportunity. The prince's careful work was ready to move, accompanied by Hu Jinquan's well-behaved camera movement, and the extremely accurate actors' positioning . You will feel that this play has a richness and reality from life and life. The smell of martial arts is slowly seeping out from here.
From the work, Director Hu's shooting skills
"The Storm of Yingchun Pavilion" has a wonderful frozen picture, which is a classic deep-focus and wide-screen composition in the play.
really took a long time to think of the more wonderful things :
"The picture has six people from near to far, five of whom were wearing heavy and solid clothes, but Richardhan wore bright yellow, which basically created a clear visual level.
Six people can be regarded as six vertical lines, from left to right, pointing directly to the right and back to form a diagonal trend;
and the diagonal array of this character are the two large wooden pillars in the foreground, behind the back, which also constitute the oblique direction, and the lines formed by the character are singing in the opposite direction of the right to the left."
The foreground is the prince trying tea with a silver needle, and the back scene is the prince close to the right and the white eagle pretending to be in charge of the account.
In this scene, layer by layer, step by step, and you cheat and you almost point to the core points of the whole film.
The rectangular wooden box with the universe inside is almost in the middle of the picture. The low-key wooden box looks like it is close to the background soil color, but at the same time it attracts attention because it is placed next to the dazzling yellow Richardhan.
Here is just a rough analysis of an important shot in the play, but it is enough to tell that Hu Jinquan spent a lot of effort in each shot. Foreign media once described Hu Jinquan as "advanced". Looking back now, the deceased has passed away, and he is still leisurely leading.
So, when watching these classic movies, you must watch them slowly and follow Hu Jinquan's pace; learn details, learn style, and learn movies.
Hunting since "The Drunken Man", buildings have become indispensable characters in the works.
Most art creators advocate people-oriented, and emotions are in words. But Hu Jinquan is a pure formalist.
Among his works, "Empty Mountain Spirit Rain" should be his most mature film experiment. is like a common architectural structure in Korean film shooting, extending the camera's mobility from the sealed four walls to the endless corridor plank road. Colorless and tasteless characters walk in the maze-like space, each looking for a way to power, but there is only one way.
For Hu Jinquan, there is only one way to create - the road to literature and martial arts.
Because Hu Jinquan's personal charm is not only his directorial identity, but he was actually a very popular movie actor.
A literati with excellent calligraphy and painting skills, a wanderer who has been in the mainland, Hong Kong, Taiwan and the United States throughout his life.
is different from the appearance he shows in the movie. In his life and words, Hu Jinquan is a very funny and caring about life interest.
Just like Director Xu Anhua has always been obsessed with the influence of Hu Jinquan's personal charm on himself, she described Director Hu: "He is not tall, but his shadow is very long."
The martial arts world of the literary world
Hu Jinquan ignored other things in the film to capture a sense of non-determinality.
He uses swords to freely paint, not to talk about the hard truth.
To give an example, in the "Loyalty and Martyr" he filmed in 1975, there was a famous swordsman Wu Jiyuan who was known as "a gust of wind" who pretended to surrender and competed with a group of thieves' leaders in the thief's nest to try his best. There is a low-angle panoramic shot of the Japanese pirate standing in a deeper place, impulsively illuminating the knife. The picture is almost still for one or two seconds. Then Wu Jiyuan, who is closer to the camera, carefully pulled out the knife, but he did not throw the scabbard away, but instead put it down from his hands and then carried it obediently with his feet. Although this lens of
is very subtle, it is indeed a realistic artistic conception.
How should I use words to convey the elegance, dexterity and romance of this "foot-controlled scabbard"? It not only expresses Hu Jinquan's cherishment and respect for swords, but also shows Wu Jiyuan's extraordinary temperament as a master.
"Loyalty and Martyrdom" is full of details that outline the atmosphere. Wu Jiyuan is elegant and gentle, dressed as a scholar, but his martial arts are the most profound. , a paradoxical comparison between civil and military , I think it is one of the most interesting things in "The Picture of Loyalty and Martyr".
It is obvious that the whole set of plays exudes an elegant literary atmosphere, but why do these things need to be expressed through fencing and fighting?
That's why I said that the world described by Hu Jinquan is not like Jin Yong , this is a world of literati and martial arts .
1997 at 6:25 pm on January 14, 1997, this master who once brought us many good works left us at the age of 65.
Although he cannot witness the highest honor of "Lifetime Achievement Award", he has always stood in the hearts of movie fans.
I will always miss Director Hu
