But no matter what, it is a noble thing to be a translator who is not a lackey.
This is a deeper thought caused by the characters in the play that did not occur after the original screening.
Before Liu Qingshan shot this film, he liked the character design of Li Zhao very much, so in his version, there were more shots specifically targeting this character.
However, the way he used it was very clever. It did not increase the content or lines of the character, but only added a few more background scenes.
For example, in this version, Li Zhao's lonely back retreating appears in the camera twice.
There was also the look of contempt on his face with his back to the enemy officer, as well as the subtle facial distortion caused by deep-seated hatred.
These quite accurately depict the character's self-blame and cowardice, and more carefully depict the helplessness and bitterness of the little man who wanders in the cracks of the times.
This allows the audience to have a clearer and fuller understanding of the image of Li Zhao as the "translator". It was actually within Liu Qingshan's expectation to gain such widespread sympathy after watching the movie.
Of course, what's more important is Lin Jiadong's superb acting skills. Such complex insider dramas are not easy to perform, and require a very deep understanding and grasp of the actor's expressive ability.
Therefore, the creation of such a different translator as "Li Zhao" is an extremely rich character filling for the entire movie; for Lin Jiadong personally, it is enough to leave his indelible mark in the history of the film. A trace.
After receiving the confidence feedback that came in time, Liu Qingshan's reply became much more straightforward.
He specifically told Shi Hui to strengthen the positive response to Lin Jiadong himself. In addition, he would of course use Xiaoxing's control to cooperate with Shi Hui and Qingshanba's series of follow-up actions.
After the continuous fermentation of these factors, his ultimate goal is to have this character win the best supporting actor award at a certain film festival.
As for the character Ip Man he plays, he is not very keen or urgent about the honor of Best Actor, because now he actually no longer needs the blessings of these Chinese awards.
On the other hand, he has no expectations for some famous foreign awards. First of all, this film is still a commercial film in nature, and the characters in the film have very little artistic content.
What's more, he wants to gain recognition from overseas markets for his screenwriting abilities first. Avoiding the more professional competition for best actor is also the first prerequisite for him to have a good relationship with people in the industry.
For the overseas market, he is an outsider after all, and his outstanding performance will not be conducive to future career development and network connections.
In fact, Liu Qingshan's version of Ip Man also has special significance to him.
Because his acting skills have been sublimated again, and he successfully played the role of Ip Man, a great master who is very skilled in every move and has a mature and stable personality.
It feels like he has vividly performed the heroic spirit of a great master, but in daily life, Ip Man has a literati temperament and a relatively reserved personality.
Two different characterizations, a more nuanced performance that he had not had much exposure to before.
Especially when Ip Man was practicing stakes at home, there was no one around, as if he was the only one facing the wooden stakes.
Without the intense and exciting fights with others, without the lively crowds and cheers, Wing Chun and Ip Man would even be a little boring.
In the quiet house, there was the sound of the collision of hands and wooden stakes, which shook people's heartstrings every time.
This is the truest side of a martial arts master. He spends most of his time practicing quietly, without the need for stars or applause.
There is only one man and his beloved thing, accompanying him day and night, day and night, and it has become a part of his life.
Ip Man's skills were only revealed in front of provocateurs. At home, he always bore his worries silently and did not want to affect his wife.
In the movie, Xiong Dailin slapped Ip Man. Ip Man silently accepted the slap, but he knew his wife's inner suffering.
So he didn't look like
Like most men, they feel embarrassed and argue with their wives or even fight. Instead, they hold their wives' hands and hug her.
Undoubtedly, every woman hopes to marry such a man.
He is actually able to interpret Ip Man's elegance and stability to the fullest, both in terms of kung fu and some details of life. He has completely brought this character to life.
Moreover, the theme is passionate, national emotions are appropriately stirred up, the previous scenes are humorous, and the little devil is not blindly stupid. The action design is decisive, violent, real, and cruel. It is difficult for such a commercial film not to make money.
Since it is a kung fu movie, the fight scenes that make the audience excited are naturally the focus and the most anticipated.
But in the "Ip Man" series, Liu Qingshan designed them to be no longer simple, but evolved into a means of showing humanity at the same time. ..
In the first battle between Ip Man and Master Liao, this battle fully reflected Ip Man's character of peace being the most important thing.
Master Liao had just opened a martial arts gym in Foshan and approached Ip Man for a closed-door spar.
In order not to hurt Master Liao, Ip Man shot slowly, hitting the target and throwing a lot of empty punches.
Because, in a closed-door discussion, no one knows who wins or loses, just a quick thought is enough. If there is a problem, it will be difficult for both parties to behave in the future, and it will be difficult for Master Liao to do business.
This means that winning or losing is meaningless. What matters is business. As a human being, peace is the most important thing.
In the second scene, Ip Man fights Jinshan Zhao. This fighting scene reflects Ip Man's soft-yet-tough character.
Jin Shanxun was a northern boxer who wanted to make a name for himself in Foshan, so he harassed Ip Man's family, smashed Ip Wen's furniture, and called Ip Wen's son a "stinky boy."
He also mocked Ip Man for being afraid of his wife, calling Wing Chun a "female ***".
This was an insult to Ip Man's values, so he used faster and harder punches to deal with Jin Shanxiu, and even used a feather duster to teach his knife-wielding opponent a lesson.
This is not only Ip Man's victory over Jinshan Zhao, but also the counterattack of the southern "little men" against the so-called "manliness".
What is reflected here is that I will not offend others unless they offend me. If someone offends me, I will offend them.
In the third scene, Ip Man fights ten karate warriors (although karate has always been a very niche martial art in small island countries during the war of aggression against China, so I will not mention it here). This fight scene reflects Ip Man's bloody nature.
He witnessed his friend being beaten to death by the people from the small island country, and was filled with rage, so he used Kung Fu to express his anger towards the invaders, using very cruel moves.
He stomps his face hard, breaks his hands and legs, and hits his vital points with quick punches. He is both graceful and brutal, making people tremble with fear.
Ip Man is usually a gentleman, gentle and elegant, but when faced with a national crisis and his compatriots were killed, he can still show terrifying fighting power.
The line "I want to hit ten" has become the most classic and exciting moment in the film.
In the fighting scenes throughout the film, the movements designed by Liu Qingshan are concise and sharp, and the fighting is enjoyable. The martial arts style tends to be elegant and gorgeous, focusing on the beauty of the movements and the cultural connotation behind them.
It not only displays the brutality of modern combat-style actual combat techniques, but also expresses the technical characteristics and personalities of each sect.
From "fighting for the sake of fighting" to "why to fight" is the indispensable "stability" that determines whether kung fu movies can become classics.
The so-called "stable" refers to the stable development of the plot of the story. In order to advance the plot to the fighting part as quickly as possible, most Kung Fu movies in the past often deliberately catered to the atmosphere of the story.
All the fight scenes in "Ip Man" revolve around the natural occurrence of the plot. They happen suddenly but closely follow the development of the plot.
An exciting fight scene also needs a complete plot to foreshadow it. This is one of the key points for the success of this film.
Furthermore, this version of Ip Man is played by Liu Qingshan himself, so there is no falsehood in the shocking scene like a ten-fight fight.
Why? During the night rain attack in Xiangjiang three years ago, Liu Qingshan faced an even more terrifying crowd of nearly two hundred people.
The scenes of that night were truly recorded by two cameras on the street, and he was the only one who was most qualified to serve in such a 1v10.
Otherwise, if such a classic fighting scene were played by any actor, it would be considered to have committed the old problem of martial arts movies: facing opponents from all directions without any movement or tactics, and the opponents come up one by one. Others are swinging around on the perimeter…
After the original version was released, people from all walks of life ushered in various mocking modes for this scene.
This version not only replaced Liu Qingshan with actual combat experience, he even gave up the unreasonable idea of being stunned by hitting any part for this scene, and instead showed more joint techniques and repeated blows .
There are a lot of 1vs in the movie, but they all face a clichéd question: Why don’t everyone come together and have to kill each other one by one?
This explanation is also very simple, because partnering is not as easy as it sounds.
If you don’t believe it, you can try to find a few friends to attack a target at the same time without command, and see what the synchronization rate is, so cooperation is more difficult than attacking alone.
Since the cooperation is not good, when faced with challenging the boss, it is normal to watch your companions attack and then look for opportunities to sneak attack on the edge.
What we are talking about is that if we all attack together, I am afraid that only a trained army can do it well, right?
Black people, bandits, etc., just a ragtag group of people!
It's just that these seemingly normal tests and sneak attacks are rarely successful or even if you get hit once or twice, they have no impact on the protagonist at all. In the final analysis, they are all for the story.
Giving away people one by one is the same as the halo of the protagonist. They are just jokes about the plot of the movie.
Is this too fake? Then if we film "Ip Man, Die", then no one will watch it, right?
What's more, Liu Qingshan's action design for this section means that if you dare to fight in a group, you must have the actual combat ability to defeat people with one move and directly lose their combat effectiveness.
