0 At the Beijing International Film Festival screening that will begin in 2018, Xu Feng became the most time-honored name in the entire Chinese film unit; "Martial Arts Queen" , which once influenced his father's generation, finally came north to warm up in spring, presenting a fantasy and classical martial arts feast to movie fans.
Speaking of Xu Feng, we have to mention the martial arts master Hu Jinquan . As director Hu’s official hero , she is not only the soul of chivalrous in Hu’s movies, but also a facade of Taiwanese martial arts. Looking back on Xu Feng’s 15-year film career, he has almost achieved half of the film history of Taiwanese martial arts in the 1970s.
In the bamboo forest, she is Hu Jinquan's most powerful sword; in the ancient temple, she is the most spiritual fox of Zen; in the mountains and fields, she is the most fierce ghost; in the tide retreats, she becomes a fight against the heroine and attacks the Japanese pirates along the coast.
Perhaps under the pride of heroism, we mostly define Xu Feng's performance style with coldness and elegance; when identifying Xu Feng's performance categories, many people always compare her with the Hong Kong Kung Fu Queen Mao Ying on the other side of the strait, but Xu Feng's temperament is far superior to other female heroes of the same age.
Compared to Mao Ying's toughness and determination, Xu Feng has more classical beauty in his coldness. Compared to his senior sister Shangguan Lingfeng of his contemporary era, Xu Feng has more almost resentful mystery beyond classicalism, which allows her to relax and relax in martial arts images.
Under the embellishment of classical temperament, Xu Feng continued the Confucian tradition of thousands of years, exiled the chivalrous concept of benevolence, righteousness, propriety, wisdom and trustworthiness in the movie, and the noble integrity of hiding fame and fame in the clothes shows the chivalrous style.
martial arts master Hu Jinquan completed " Drunk Hero " in 1966, then left Shaw Brothers and went to Taiwan to build his own martial arts puzzle on Baodao. While determining his status as the top martial arts movie , he also injected vitality far beyond his previous ones into Taiwanese martial arts.
"Longmen Inn" has a very extraordinary significance to Hu Jinquan. It not only breaks the box office record of Taiwanese theater martial arts films, but also creates a new martial arts system belonging to Confucianism. , Baiying , Han Yingjie , and Shi Jun can all be used by him. The heroes and treacherous ministers are elegant and moving in the composition of ink paintings.
. Xu Feng, a 17-year-old girl outside the core circle, was jointly appreciated by Hu Jinquan and his deputy Tu Zhongxun. At that time, when Xu Feng grew up at the age of 17, he showed his sword to others and transformed into a strong female hero. He made great achievements in eliminating the arrogant Cao Shaoqin . Unfortunately, the highlight performances of the three starring actors almost robbed all the limelight of Xu Feng's martial arts dramas.
Fortunately, three years later, Xu Feng starred in the martial arts feature film "The Legend of the Condor Heroes" that changed his life. Because Hu Jinquan has accumulated a deep foundation in Chinese studies in "The Drunken Hero" and "Longmen Inn", the three hours also allowed Master Hu to fully express his chivalrous feelings in this film.
"The Heroes" shows the next vivid and jumping souls that are wrapped in the stories of gods and ghosts. The Confucian concepts that are in line with "Longmen Inn" are more in line with the orthodox value orientation of Baodao back then.
It is hard for us to imagine that 20-year-old Xu Feng showed outstanding performance talent in "The Legend of the Goddess". Yang Zhiyun, the descendant played by her, is cold and courageous and has amazing martial arts. He not only maintains the mysterious characteristics of the hidden hero, but also cuts off the bonds between his love and his eyebrows before the righteousness and cannot tolerate any tenderness.
and Hu Jinquan's high degree of unity of the imagination and aesthetics of the heroes, so that Xu Feng was able to replace Shangguan Lingfeng in later movies and became the best spokesperson of Hu's "literary martial arts" system together with Confucian heroes Shi Jun.
With the great success of "The Legend of the Goddess" and " Dragon City Ten Days ", continuous martial arts film contracts also flocked to the young heroine. There are many super big names among the actors who play with Xu Feng ; whether it is " One Husband Being the Guard " , which cooperates with Xu Zenghong and Wang Yu , or a pearl in the inn inn that pieced together " Yingchun Pavilion's Storm " .
Xu Feng is both independent and has a sense of existence in the martial arts world. To be honest, Xu Feng's contribution to the Taiwanese movie may not only be the cold female hero's character led by Xu Feng, which has also created a new personality in Taiwanese martial arts films.
After breaking away from the two heroic resurrection mode of Tian Peng and Han Xiangqin in the late 1960s, the high attention to female characters is more prominent in the martial arts films that followed Xu Feng.
It is worth mentioning that in Hu Jinquan's "The Storm of Yingchun Pavilion", the female heroes led by Li Lihua Xu Feng is like a whirlwind that impacts the Taiwanese martial arts market dominated by patriarchal power; Xu Feng in the movie is brave and upright as she used to be, and the willful and willful Mongolian princess looks even more cold with her cold and beautiful blessing.
plus the reserve and charm in its original personality make Xu Feng's acting more layered in the narrow space of the inn.
In the confrontation between Hu's female heroes, we were also shocked by Xu Feng's heroic attitude. The continuous sense of arrogance added to Hu Jinquan's strong character in his elegant temperament. It is not impossible to kill people with his eyes.
If Hu Jinquan is Xu Feng's mentor, then the deputy director Tu Zhongxun can be called Xu Feng's noble person. In the filmmaker's short career, he worked with Xu Feng alone in four martial arts films: "Ten Days in Dragon City", " Hunter ", "The Underworld" and "Assassin", and Xu Feng became the most dazzling existence in the play without exception.
Whether it is the anti-man women in "Ten Days of Dragon City" or the lonely and fierce women in "Assassin", they are all tailor-made for them. Tu Zhongxun created the legend of this hero in another world, and also brought Xu Feng the first Golden Horse Best Actress .
Of course, the success of "Assassin" in 1976 was more like a full affirmation of her personal stylized performance; this also gave the Taiwanese film industry the most vivid framework of the female heroes in the martial arts world. She is different from Han Xiangqin's charming aura, and she is also different from the chivalrous tenderness of Zheng Peipei. She lives in the martial arts world, but is higher than the martial arts world, showing nobility in the sword, and showing out in the bamboo forest.
After nearly 10 years of hardship, Xu Feng's fledgling edges have been polished by multiple roles to be able to be freely retracted, and she has shown a diversified performance potential that no other chivalrous spirit has.
Perhaps in many people's eyes, because the success of "The Heroes" will be the shackles of her life's role transformation, but until her amazing collaboration with her mentor Hu Jinquan in 1979 in the two works " Kongshan Lingyu " and " Legend in the Mountain ", the previous speculation and assumptions completely became empty talk.
In "Empty Mountain Spirit Rain" , the female thief of Xu Feng played the role of is more like the conveyor of Hu Jinquan's aesthetic thoughts; while conveying Zen, the white fox itself has experienced a reincarnation-like meditation. In the end, the white fox became a monk and became a monk, and the unity of knowledge and action completed the great perfection of Hu Jinquan's Zen philosophy.
Fortunately, Xu Feng's cunning and spiritual interpretation is consistent with the unmoving Zen movement and stillness in the movie. The transcendence of his performance is more perfectly integrated into the teacher's oriental philosophical imaging system, becoming the most stunning and agile aura outside the Buddha's light.
Compared with the lively charm of "Empty Mountain Spirit Rain", Xu Feng from "Legend of the Mountain" made the evil spirit suppress Zhang Aijia, Shi Jun and others, and almost overturned the quiet and quiet Zen world constructed by Hu Jinquan with his own strength.
Xu Feng in "Legend of the Mountains" has completed the deepening and transformation of style. Le Niang, played by Xu Feng, has completely subverted the world's inherent perception of her with the image of a wild and cruel banshee.
Behind this very breakthrough character, this new actress queen also shows her perfect grasp of her self-performing state; she is so charming that she is perfect and extraordinary in addition to being ruthless.
Perhaps "Legend of the Mountain" is like a magic mirror, reflecting Xu Feng's own side; her temperament of combining good and evil has fascinated countless opposite sexes, and is deeply trapped in every moment of the image that is bewitched by the witch.
Behind Xu Feng's acting skills are gradually mature, his understanding of movies has long been different from the past, and the movies have emerged into reality and become the life gate for her adaptation in the second half of her life.
In the 1980 Chen Yaoqi art film "Source" , Xu Feng played the first generation of entrepreneurial women who went to Taiwan in the late Qing Dynasty. His hard work and forbearance have touched countless Taiwanese audiences.
Coincidentally, Xu Feng and the characters in the image are all reflected in her real life back then.
At the age of 30, the second Golden Horse Queen can give her career comfort, but she has gained her true love in this life, but she has become the greatest wealth in her life. At this point, Xu Feng and Tang Junnian tied the knot and started her second legendary life.
When martial arts movies were in decline in prosperity in the 1980s, Xu Feng retreated bravely in the ups and downs of light and shadow, and witnessed the peak of Chinese martial arts movies that left the stage and withdrew from Master Hu's Confucian hero world.
In 1984, Tangchen Film Company was established. Under Xu Feng's helm, Tangchen has become an important force in promoting Chinese-language films; even though Xu Feng is already over 60 years old and has achieved success today, as the sword-holder of Tangchen Group , movies have become the most difficult bond in her life.
After winning a full house at the Cannes Film Festival in 1975, the movie gave Xu Feng artistic glory for the first time. At the award ceremony, she was hugged and kissed, becoming the mysterious power of the Eastern world admired by Western filmmakers.
Until 1993, with "Farewell My Concubine" , he returned to Cannes with Chen Kaige and Leslie Cheung, and Xu Feng once again stood at the peak. The 18 years of reincarnation are not only like Xu Feng's rebirth in the Chinese film industry, but also give another insurmountable monument to Chinese films.
In recent years, Ms. Xu Feng has focused on restoring old Chinese films, which has brought many classic Chinese films to the world and regained their vitality in major film festivals and film festivals. Behind it is the intention of thanking his mentor Hu Jinquan, and she also has her lifelong love for the movie.
For 67-year-old Xu Feng, the 2017 Taiwan Golden Horse Awards Lifetime Achievement Award seems to have come a little early. On the podium, she hugged and greeted Zhang Aijia . The 35-year behind-the-scenes film life is only in the blink of an eye. Compared to her affirmation of Xu Feng's heroic appearance in her youth, the Lifetime Achievement Award is more like a tribute to her outstanding contribution to Chinese films throughout her life.
Since 1980, a generation of heroes has left the screen for 38 years, but in reality, the chivalrous moves about movies are still admired by the younger generation. The greatest heroes serve the country and the people. We believe that in the next few years, more old martial arts masterpieces will be seen again; the great film journey is still continuing, and the female heroes will never grow old, and the dream of films will never stop.
