, a few big guys fight in the bathroom, and then a tenor Xu Hanlin ( Wang Minde) was brutally killed, followed by the suspect Wang Yuanyang ( Zhang Jiahui) and the front of the police. In the conflict, all the spearheads are directed at Wang Yuanyang, but is he the real murderer behind the scenes? However, the direction of the film is not in the direction familiar to the audience. The simple and crude ending that was previously expected gradually became clear in the step by step. It is not as straightforward as people expected, and the new murders are not for the same simple reasons. The secret behind it is something that no one wants to talk about. In front of the sticky police, all this gradually becomes clear. At that time, the police did not know what to do. After the reunification, Hong Kong movies have been staggering, and it is difficult to reproduce the production volume of Hong Kong movies in the late 1990s. Quality is also vaguely restricted due to the diversification of investors.
The so-called "Hong Kong films" is the guarantee of good film quality. Gone, but the spirit of the people of Hong Kong is still there. Although the number of films shot every year is small, it still guarantees the distinction of various types of films, but It is still inevitable that due to the mainland censorship, the structure and ending of police films can no longer follow the previous genre. This has had a huge and embarrassing impact on one of Hong Kong's best genre films-police and criminal films. As we all know, in the affairs of Hong Kong under the British rule, the police and the underworld were mixed, leaving many marginal identities, like a dark fog that can not be cleared in the hearts of every Hong Kong citizen. Inevitably, films featuring police corruption, underworld forces, young and Dangerous, etc. began to appear on the screen, and the ending of the film became darker and more thorough. This aspect is used by Hong Kong people to vent their heavy pressure on life. The way is also a comforting expression of their seeking to balance the psychological gap.
And this new type of ending also spawned a series of police and criminal films, the gangster film type appeared, in this, human warmth and fraternity disappeared, leaving only endless darkness and the cycle of fate. As mentioned above, the dark ending of Hong Kong movies is no longer, and the audience urgently needs a new way to set the tone, so this warm and slightly sad ending is a new way for the director and even the screenwriting team to grasp the story as a whole. Ideas,Of course, it is also responsible for the audience. Then an apparently tragic and dark ending can be reversed. This kind of film inherits the spirit and craftsmanship of Hong Kong films, while at the same time creating a new model of film. However, this kind of film that conforms to the traditional values of Hong Kong films and caters to mainland audiences still appears to be a bit worrying about its originality, so some details are open to question, but fortunately, the director's overall control ability is excellent, and the flaws are not concealed. The ups and downs of the story did not make the audience feel unreal, but it was difficult to create it first, so the overall movie this time is quite impressive.
is straightforward. I personally feel that "The Big Manhunt" is a bit misleading. The so-called chase is actually a game controlled and controlled by the person being pursued. As for the "big", I don't know where the big is? I often see a large group of police chasing after Zhang Jiahui. This is a criticism of the lack of force in the action scenes. In addition, don’t over-anticipate the drama of the two heroes duel. Because the director wants to show the loneliness of Camus "The Outsider", the movie emperor has the drama (there are two impressive shows), and the "Wisdom Fighting Brave" is not. . This is due to the disappointment in the plot and suspense setting of the film. The director Zhou Xianyang said that police and gangster movies do not necessarily require gunfighting. I totally agree with this point. But the breakthrough in type should be based on the type itself. "Big Pursuit" is a slightly suspenseful genre film with police and criminal themes, giving people a sense of unreliability. There are basically no highlights in the action, and there is no novelty in the suspense setting. The only highlight is Zhang Jiahui's interpretation of the role. However, the ultimate goal of the performance is to serve the story. The overall plot of the film is like 文咏珊 's small and refreshing performance style in the film, although there is nothing wrong with it, but it is slightly superficial. In addition, as far as the theme is concerned, "The Big Manhunt" is actually an affectionate story with a light taste and a heavy taste under the packaging.
is not to say that only a strong taste can express a profound theme, but since the protagonist is placed in a desperate situation, the issue of credibility must be dealt with. The audience expects the reality of extreme humanity under reasonable logic. Next, I will try to compare " Murderer " with this film, and briefly talk about their similarities and differences, gains and losses. The two films are both directed by Zhou Xianyang and written by and Du Zhilang .There is a certain degree of comparability. First, it is also a revenge story. Because of the different viewpoints, "The Murderer" is much more terrifying and crisis-conscious than "The Big Pursuit". The former is basically a subjective perspective of revenge and abuse, while the latter’s perspective is mostly a third-person objective perspective. This directly led to the weakening of the audience's empathy for Zhang Jiahui's role. In fact, even if the audience starts from Zhang's point of view, there is no fear of being pursued at all. Because the police are so stupid, what the detective Ren Dahua did was just biting like a Tibetan mastiff and keeping up with Shang Zhang's footsteps. Conversely, Zhang Jiahui visited Ren’s daughter at night, attacked Ren’s colleagues, and fought with Ren on the cable car. I couldn’t get nervous at all, because blind people could see that Zhang Mingming was a "good man", a man who avenged evil. There is no harm to kindness.
The scariest factor in "Big Pursuit" disappeared after Wang Minde played the perverted dad Over. The whole hunting process lacked a gripping sense of crisis, let alone thrilling. Second, in the handling of suspense, "The Big Pursuit" is an onion peeling style, while "The Murderer" is a sudden reversal. Personally feel that both have their pros and cons. The advantage of peeling onions is that it is more logically handled. The disadvantage is that if the audience guesses the ending too early, it will affect the tearful process. The advantage of a sudden reversal is nothing but surprise. The disadvantage of making the audience unable to help their own "I rely on!" is that it is easy to be criticized for the rationality of the plot. It is worth mentioning that both films also emphasized that past causes produce today's results. "Murder" belongs to the small mistakes of the past that caused the great horror of the present, but "The Big Pursuit" is a nightmare that was once a nightmare but has now been violently dispelled and redeemed by tenderness. Third, in the performance of the actors. Aaron Kwok , Zhang Jiahui, everyone is the actor, there is nothing to say. But in terms of the appeal of the role, I personally think that Aaron Kwok is stronger. As mentioned earlier, "The Murderer" basically revolves around Aaron Kwok's psychological and emotional state all the time. The audience followed him in fear, but just like the people in the play, they no longer doubt him all the time. Until he suffocated his friend, this was a node. After learning the truth, he killed the assailant because of anger, and he became a chainsaw massacre. This is another node. The psychological changes of the characters are clearly visible.The role of Zhang Jiahui in "The Big Pursuit" is too introverted, so a little vague, and the details are not captured enough. The unsatisfactory characterization of this kind of characters should be attributed to the director and screenwriter. The success of a character lies not only in self-shaping, but also in the tension of playing against other characters. The director gave up his full focus on Zhang Jiahui's perspective, but failed to deal with his relationship with other characters. Looking back at the role played by Zhang Jiahui in "The Witness", there are not many scenes, but the acting is exceptionally brilliant.
This is due in many ways to Lin Chaoxian 's handling of character relationships. If the ending of "The Murderer" is too cruel for many people to accept, the ending of "The Great Manhunt" seems a bit superfluous. Zhang Jiahui once asked Ren Dahua: Is the truth really that important? Yes, does the audience need to know the truth? In fact, there is no, because firstly, most people should have guessed the ending. Secondly, the focus of the film is not to expose the truth, but to the emotional background shown in the process. In the end, the film persisted in showing the whole process of the crime scene, which was unavoidably redundant. The murderous tactics, the perverted protagonist, the complicated psychology, the downfall of the police, the self-sufficient deceased; each one can find the same profound source in the history of Hong Kong film.
Director Zhou Xianyang and screenwriter Du Zhilang previously collaborated on "The Murderer". This work also describes a bizarre murder case. The murderer must be someone unexpected. Zhou Xianyang and Du Zhilang's combination of directors, perverts, heavy tastes, murders, unjust cases, escapes, etc. are shown in the film one by one. The destruction of corpses is commonplace, and these more impactful scenes are also shown to increase the commercial look of the film. Point, of course, is also based on the current range that the audience can bear. It will not be said that the audience will watch nightmares again and again, and it will become a horror movie. The core issue of "The Great Manhunt" is: grievances and truth. Is Wang Yuanyang unjustly imprisoned? What is the truth about Xu Hanlin's death? The successive layers of suspense and the turbulent plot keeps the film always shrouded in layers of mist, and it is difficult to know the truth of the matter until the last moment. But the screenwriter Du Zhilang is actually also raising a question, that is, is the truth necessary? As a policeman, Lin Zhengzhong (played by Ren Dahua) has the same perseverance as the famous Detective Conan.I believe that there is only one truth, but the law is nothing more than human sentiments. If we investigate things so thoroughly, can we really put the dead in peace and make the living better? Sometimes things don’t necessarily have to be in accordance with the rules. This is also a proposition given in the film. Whether the audience sees it the same way, it will not be known until the film is released.
In the film, Zhang Jiahui has very few lines. It depends on movements and expressions to support this performance. It is a bit of a silent film style. His acting skills are getting better and better, and there are more There is a lot of room to play, and I look forward to seeing him in a more challenging role in the future. Constantly raising questions and letting the audience follow the plot step by step, the plot conflict of the film has gradually escalated from the conflict between Wang Yuanyang and Xu's family to the conflict between police and robbers. It is Wang Yuanyang and police officer Lin Zhengzhong who need to face-to-face confrontation. The character of Lin Zhengzhong is also very interesting. His wife died two years ago and was judged to have committed suicide by the police. But Lin Zhengzhong did not believe it, but this clue did not give the ultimate answer. Perhaps it was suicide, but Lin Zhengzhong refused to accept it. Reality is nothing.
After investigating the grievances between Wang Yuanyang and Xu's family, Lin Zhengzhong judged that Wang Yuanyang was seriously suspected. However, with the investigation of the cocoon, it seems that the murderer is still hidden behind the scenes, and the wits between the police and the robbers have begun. It's just a game of cat and mouse, but the position of cat and mouse is often changed. Wang Yuanyang is out of his life, so he can always contain the police. It's really hard to judge who is a cat and who is a mouse. As described in the film, Lin Zhengzhong does not care about solving the case, only the truth. The obsession with the truth allows him to track down the facts of the crime step by step, but sometimes knowing the truth may not be better than not knowing it, because the truth is never as easy to understand as ignorance.
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