movies, the more you can feel the shallowness of some directors and the more you can feel the greatness of some directors.
In a word, it is possible to summarize and recognize the greatness of those great directors in the history of film.
I have three directors in my mind that the historical status is irreplaceable.
to them.
Come on the mountain.
Only high mountains are coming to the top.
One is the greatest fat man in film history - British director Hitchcock; the other is the director among the directors, the master among the masters - Japanese director Akira Kurosawa.
There is another one that is Hu Jinquan, a master of films.
These three people are the best in the era of large studios. When the world's film art was not yet formed, they defined what a movie was to the world with their own strength.
They set up their sects, blossomed and scattered leaves, made indelible contributions to world movies, and also freeze their names in the time and space of light and shadow forever.
Hitchcock is famous for his suspense thriller films. He also created schizophrenia on one hand, and influenced the development of later agent films such as 007, and greatly improved the film technology.
Kurosawa Akira, a genius among geniuses, greatly expands the boundaries of movies. He can control almost any theme, and influences countless great directors in later generations.
Hu Jinquan, who created a new martial arts film, brought Chinese films to the international stage for the first time. He was the first mature author and director in the history of Chinese film.
Although Hu Jinquan is not as well-known as Hitchcock and Kurosawa in the history of world films, we cannot only look at the world, sometimes we also look at things from our own nation.
Chinese movies, the most unique thing is martial arts movies. The only original movie type in China is that Hu Jinquan mentioned martial arts movies to the category of art.
also fully demonstrated the traditional Chinese culture through martial arts movies, fully expressing the simple values of Chinese people's justice over evil.
From this point of view, he is to Chinese movies, just like Hitchcock to Hollywood movies, and Kurosawa to Japanese movies.
Director Hu, like Hitchcock and Kurosawa, started working step by step from the studio, without any shortcuts, and naturally became a movie master as he worked.
Director Hu Jinquan is from Beijing. He went to Hong Kong alone after 49 years. When he first came, he was quite down and out, but after all, he came from Beijing and received a good education, so he finally had the opportunity to enter the Hong Kong film industry.
He was appreciated by the Wan brothers, the founder of Chinese comics, and got a job as an artist in a film company. Later, because he was handsome, he started to be an actor and acted in more than 100 movies.
As a saying, if someone else had to be an actor for the rest of his life, Director Hu started writing scripts and became an assistant director.
After a few years of hard work, he directed his first movie "The Children of the Earth", but the box office was not very ideal. The boss said he would rather try the action movie, which led to Director Hu's first martial arts film "The Drunken Hero". After the release of the movie
, it has good reputation and box office.
When director Hu's third movie "Longmen Inn", he broke the record of selling titles in Hong Kong since its opening.
Then his "Holy Woman" won the technical award at the Cannes Film Festival, bringing Chinese films to the mainstream Western world for the first time.
Hu Jinquan's martial arts movies are unique and have their own unique aesthetics. He was born in Beijing and grew up in the theater at home since he was a child. He is familiar with traditional Chinese dramas.
So his movies, both in the structure of the play and the external form, reveal a traditional dramatic aesthetic.
The most typical example is to use drama soundtrack to introduce the characters' appearance and use dense drum beats to express the fierceness of the characters' fighting. Ang Lee has also used this in "Crouching Tiger, Hidden Dragon".
and his movie stories generally have serious historical backgrounds, and because I personally like to study Ming history, the Ming Dynasty is the most important.
The story of traditional Chinese dramas is generally simple, mostly a binary opposition between loyal ministers and good generals and evil forces.
Hu Jinquan completely uses this kind of dramatic technique, but his cleverness is to use the language of the movie to fill in the details of the story.
This involves the transformation of space. It moves the story from the stage to the big screen, and the inns and other spaces in the story seem interesting.
There is also a kind of spatial aesthetics in Hu Jinquan's movies, that is, people walk in the paintings and make characters ripple in nature, in order to achieve the artistic conception of Chinese landscape paintings.
In terms of film technology, Hu Jinquan is also innovative, the most typical of which is the jumping and rapid editing during the Bamboo Forest War in "The Legend of the Goddess".
is similar to the bathroom murder in Hitchcock's "Psycho" story.
Hu Jinquan's martial arts movie also changed in the later period. In "Legend of the Mountain" and "Empty Mountain Spirit Rain", he has begun to pursue the artistic beauty in traditional Chinese literature.
I think he did it.
He used martial arts movies to hit the edge of art, turning realistic martial arts into freehand martial arts, and this artistic conception is poetic and romantic, and it is Buddhist Zen.
is not comparable to Ang Lee.
director Hu Jinquan is writing poetry for our nation, shaping personality for our nation, revealing feelings for the country, and also revealing literati romance.
He died early.
has not left many relics in the mainland. I think the academic community in the mainland does not pay much attention to his works, at least the official has never recommended it to Houlang.
However, it doesn’t matter, art has its own heritage.
Good things are good, endless.
