He writes about light and shadow, and light and shadow reflect the world. In the “Light and Shadow” column, we will walk into excellent film and television works with you and experience the infinite charm of film art.
This year marks the 25th anniversary of Hong Kong’s return to the motherland. In the past, Hong Kong films have grown up with audiences from generation to generation. Those characters, stories and emotions have become more and more new with the passage of time. This period” light and shadow theory” will take you into the star-studded and glittering world of Hong Kong movies, and review the memories of Hong Kong in light and shadow.
In the colorful world of light and shadow constructed by Hong Kong films,70、80、90In the indelible memory of the three generations, there must be the name of Hong Kong police and gangster films.
In 2002, “Infernal Affairs” was born, creating an epoch-making milestone for Hong Kong-made police and criminals. The title of “Infernal Affairs” once aroused various opinions. The director answered that it was inspired by John Woo’s film “Face Change”, and later wrote the script of “Infernal Affairs”. The purpose of taking this name is that two people who live undercover life are like living in an endless hell.
Liu Jianming, played by Andy Lau, and Chen Yongren, played by Tony Leung, are a pair of black and white undercover agents, which signify the homogeneity and dissimilarity of twin brothers. The two are also undercover, and they are destined to constantly wander between disguised characters and real characters. Chen Yongren was forced to be an undercover agent. He was “traitor” on the surface, but “loyal” on the inside. And Liu Jianming is “loyal” on the surface, but inside is a variable that is both good and evil. After watching “Infernal Affairs”, you will be surprised that you have briefly forgotten Tony Leung and Andy Lau, but remember the righteousness of “Ren Ming” so deeply.
When many people talk about “Infernal Affairs”, they will relish the scene where Tony Leung and Andy Lau confronted each other on the rooftop. Tony Leung said “I’m sorry, I’m a policeman”, which made many people cry. Conquering yourself is the real hero.
No matter how many years have passed, “Infernal Affairs” is still a well-deserved masterpiece of Hong Kong police and bandit films in the hearts of fans.
“It’s good to be a child, you can eat, sleep, and drink”
Comedy films are one of the most important types of Hong Kong films, and the most local cultural feature is kung fu comedy.
The “Baby Project” released in 2006 can be said to be the return of Jackie Chan, the representative of kung fu comedy, as well as a return of Hong Kong movies. The wonderful dialogues, funny performances and thrilling actions in the film all have the shadow of the early Hong Kong comedy action films. The Hong Kong-style humor returns in this film, showing the audience with a new attitude and a fresh plot.
In the story, the two thieves played by Gu Tianle and Jackie Chan are like the portrayal of every novice father. They are in a hurry in the face of the baby’s crying, and they can’t help but be overjoyed by the baby’s sweet smile. The various jokes made by the two big men are hilarious, and the scene where they sacrificed their lives in order to save the baby is even more moving. The kind of sacrifice and protection regardless of the cost, made this man go by accident. The wonderful combination together has become an invisible but affectionate home.
Jackie Chan once again shaped the image of a civilian hero. Even at first he was not a good person, but in the end, we were all moved by the kindness in his nature.
“As a human being, the most important thing is to keep your top.”
Most people’s impression of Hong Kong movies is that they stay in the era of Hong Kong commercial films. However, Hong Kong movies also have their small but fine art films among them.
“The Thief of the Years”, released in 2010, is a representative work of Hong Kong’s literary and artistic films. It is not like the unique methods of Hong Kong films such as gunfights, nonsensical, crazy, and ancient and confusing in the past. The warm stories of ordinary families in the turbulent years show the optimism and tenacity of ordinary families in Hong Kong in the face of adversity.
When the typhoon hit, the gatehouse of the shoemaker Mr. Luo’s house was shattered. In order to prevent the gatehouse from collapsing, Mr. Luo and his wife climbed to the roof and carried it on their shoulders in the heavy rain. He said, “To be a human being, the most important thing is to keep a roof.” With a roof, there is a place to shelter from the wind and rain, and the roof is the “sky” of life. If the sky does not fall down, there is always hope in life.
The Luo family in the film has never encountered any good things, but often have some accidents, but they can still face all the hardships in life with an optimistic attitude. As Mama Luo said, one step is difficult, one step is good, keep walking, and sooner or later there will be a day when you will see hope.
“In the ever-changing life, time is the biggest thief”, stealing everything we once had in the passage of time, but the only thing it can’t steal is love.
“It’s been 154 years since Hong Kong returned to China. We don’t want to and can’t wait any longer.” This sonorous line in the “Return Chapter” of “My Motherland and Me” expresses the aspirations of the descendants of Yan and Huang. For 25 years, the filmmakers measured the land with every foot of film, watched the city with gentle eyes, cherished all its beauty in the camera, and fixed it in time. The memory of Hong Kong in light and shadow is still being written, to be continued.
* “Infernal Affairs” was directed by Lau Wai Keung and Mak Siu-fai in 2002; “Baby Project” was directed by Chen Musheng in 2006; “The Thief of Time” was directed by Law Qirui in 2010
*The picture comes from the Internet
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