That's right, I'm talking about Tsui Hark.





Many comrades, especially young ones, have a nose at Xu Keyi and believe that he is just a commercial film director. I want to say, young people, you naive.



In the eyes of Da Han Han, Tsui Hark is the director I have seen who has always maintained a certain degree of foresight, and is the director who has always been trying to play new tricks. Although his level of advancement gradually weakens as he grows older, compared to directors who have fallen three thousand miles behind the times during the same period, Tsui Hark has truly lived up to the nickname "old monster".



Valuably, I don't think Tsui Hark's works that have been heavily slapped so far have been released on the streets. The only two that have a little bit are "New Shu Mountain" and "Dragon Gate Flying Armor", but really only a little bit. The failure of these two films also stems from Tsui Hark's main focus on exploring green mousse effects/3D, which were still new at the time.





As mentioned earlier, from Green Screen to 3D, Tsui Hark has always been the "first person to eat crabs", and it is precisely this bold and pioneering spirit that endows his works with almost fierce foresight.



The earlier his movies are, the more astonishing they are. For example, the new school of swordsmen with a strange style opened up in those years, from the "Butterfly Change" to the "Laughing Proud Jianghu" series to the "New Dragon Gate Inn" and "Wong Fei-hung".





Tsui Hark almost pioneered a new aesthetic of martial arts films on his own. At this time, Tsui Hark was no less artistic than Ang Lee and Wong Kar wai, and no less commercial than Wang Jing and Liu Zhenwei. And the ability to smoothly navigate between art and business is something that many directors who are currently considered divine do not possess.



Here's an explanation: Cheng Xiaodong's "Ghost of a Beautiful Girl" and "Smiling Pride" series. In my opinion, in terms of art, most of this credit should be given to Tsui Hark, who was then a screenwriter or producer. Because Tsui Hark continued this style in his own directed films, and after Cheng Xiaodong left Tsui Hark, he never reproduced this artistic style again.



When it comes to foresight, I have to talk about this film, which was filmed in the same year as "Journey to the West" and encountered cold weather when it went out on the street. The public expressed that they didn't understand what the hell was saying, and it was also praised as a classic "Green Snake" after years of popularity.





The film 'Green Snake' has given Tsui Hark a strong impression in my heart. I said, maybe the top two movies I like are 'Lust, Caution' and 'Green Snake'. Therefore, it is inevitable that my impression of Ang Lee and Tsui Hark will be the best, which may be related to my fondness for the literary style of Eileen Chang and Li Bihua from my youth until now.



And it is also a remake of Li Bihua's original work. The artistic value of "Farewell My Concubine" may be higher than that of "Green Snake", so I actually agree to some extent that Chen Kaige has elevated the power of Li Bihua's original work. However, in terms of restoring the world in the book, I think "Green Snake" is stronger than "Farewell My Concubine". The gloomy and treacherous world in the book, which is both emotional and ruthless, has been fully dimensionalized by Xu Ke.



How I Met Your Father Season 2 The Chosen Season 3 Sweet Tooth Season 2 New Amsterdam Season 5 monster high freaky fusion Next, let's talk about the diversity of Xu Laoguai. To be honest, even as a half fan of Tsui Hark, many times when he announces the start of a new film, I feel like it's a dead end. Is this weird theme just a bad film? Exit

 
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