Director: Yuan Heping
Producer: Zou Wenhuai
Screenwriter: Jing Wong Edward Tang
Action: Yuan Heping Sammo Hung
Actor: Sammo Hung Kwan Tak-hing Yuan Biao Bai Wei Zhong Fa Fan Meisheng Ching-Ying Lam
Zhongfa Li Haisheng Feng Kean Jiang Wu Jinyuan Choh Lam Tsang Feng Jingwen
Gwa-pau Sai Pak-Kwong Ho Tang Jing Curry Billy Chen
Release date:1979/12/19
Drawing (3.0/5)
This film is a Kung Fu comedy with a strong Cantonese flavor in the early years of the Republic of China. The film is directed by Yuan Heping, an action director, and Sammo Hung, a martial artist, plays the leading role of Lin Shirong.
Huang Feihong (Kwan Tak-hing) in Foshan has three disciples-Lin Shirong (San Mao), Liang Kuan (Yuan Biao) and Guijiaoqi (Bai Wei). The first disciple made a living by selling meat, and his name was Zhu Rourong. Ah Rong is a chivalrous man, but his mind is honest and frank, and he is not very flexible when he meets something. Ah Rong didn't mean to offend the people in Wulongtang. The master came to Baozhilin when he was eight days old, but was suppressed by Master Huang. As the saying goes, one mountain can't accommodate two tigers, so the two sides forged an indissoluble bond.
Arong's younger brother Lin (Jiangjin) took his wife to Foshan to find his brother. He was cheated by Gao Dahai (Feng Kean), a bully, and his beloved wife was taken away. Fortunately, A Guang kept asking Hua Fucheng (Fan Meisheng) for help, but Ah Rong believed in the sea of flattery and helped the wicked to use force against Hua Fucheng. It is only reasonable that Hua should teach Ah Rong a lesson first and then let the two brothers meet. Ah Rong, playing along, came to Wulongtang to save his sister-in-law. The two were strangers, and Fu Cheng and Ah Rong became good friends. With the help of the time-honored brand Hua, Arong's tiger and crane fists became more and more refined.
Gao Dahai is willing to stop here. First he framed Arong for raping and killing his adopted daughter, and then he killed Lin. The unbearable Ah Rong shot at the sea in anger and avenged his brother. Master Gao Batian was furious when he lost his only son and adopted daughter. In the end, it is natural to stage a wonderful drama of the five-element palm against the tiger crane fist.
Kung fu (5.0/5)
Eight days in high school led a cow to Bao and fought with him with the brush in his hand. Kwan Tak-hing has been almost the image spokesperson of the film Huang Feihong since the 1940s, and he was recorded in the Guinness Book of World Records because he played the same role the most. Master Guan was born in Cantonese opera, and his basic skills and vigor are not bad. Of course, it is not realistic for a 70-year-old man to actually shoot. Through the confrontation between two brushes on four-foot rice paper, Yuan Heping skillfully designed the generous temperament and superb kung fu of old Huang Feihong. Not only does the quality of "serving people with morality" in traditional culture stand out with specific tricks, but the characters of villains and villains are also clear at a glance. Yuan Dao's meticulous "freehand brushwork" technique in this action is really unparalleled. Guan He made some gestures of writing and pushing himself, and part of his fists and feet under the table were completed by his double body.
I used to ask Hua to buy wine in the hotel, and I happened to meet Gao Dahai and teased him. This scene is more like Fan Meisheng's physical body double dealing with Feng Kean. Except for a few smiling faces and a few positive postures, almost all Fan Pang's consistent attacks and somersaults were performed by body double. The battle design on the three rows of jars is wonderful. It's called Lao Hua wandering on the jars to dodge the ground attack on the high sea, leading the jars on the high sea, calling Lao Hua to land quickly and swinging his left foot to kick high. Get up high and fight back, always asking Hua Teng's wine rack to take forward somersault and fall in front; Avoid the sharp edge of high, the flowers always kick before landing, and the high head hits the jar on the shelf. The old beggar not only drank good wine, but also paid for wine from Gaohai. Director Yuan's lens performance is also just right. In the wide-angle panorama, we can see the rhythmic fast pass, touch and impact consequences.
Lin Shirong listened to the story of Gaodahai, and went to the bar to get justice from Laojiaohua. San Mao and Fan Meisheng (Fan also has a double body), two big fat people, both used the tiger-crane double form and snake-shaped fist of Hong Quan. In this play, Yuan Dao pays attention to highlighting the effect and humor of one stroke. Both of them shot quickly, and Yuan Dao also showed wonderful hand strokes and funny facial expressions by pushing close-ups quickly. And San Mao's image of a kung fu clown is also vividly interpreted.
Gao Batian took people down to the bag. When he didn't catch them, he kicked the signboard and stood up with Ghost Foot to protect the pavilion. Yuan Biao to Ching-Ying Lam, Bai Wei to Yuan Wu. Holding a ruler paper fan in his hand, Lin fought against Biao in the corner of the yard at night. The paper fan is really a blind tool. Lin danced with a fan and disturbed Biao's sight. He threw the copper coins hanging on his waist belt with his feet, and Biao fell to the ground with a gun in his face. When they tried to get together, Lin played tricks again. The tiger saw through it, threw the money at Lin's forehead and gave a progressive side kick. Lin took off to the ground. The tiger grabbed the paper fan and kicked the forest into the main hall. The camera switches to another corner of the yard. Dealing with the monkey stick in his hand with his bare hands, Wu used the stick to support it. He flew along the pole and kicked Zhong Wei. The stick in the military commander's hand is so powerful that it is simply a wonderful juggling. Wei was swept down by the enemy and grabbed a long knife and stick. In the next battle, the knives and sticks were fired in unison, and Wei gained the upper hand, and a stick hit him in the calf. The camera cuts back to the main hall, and Biao and Lin are unarmed. Lin gradually lost, countered with a three-pronged sleeve knife, and was also evaded by the table. Lin attacked with a double-edged sword, leaping around and fighting back with long-distance footwork. Lin finally died by his own sword. When the camera cuts into the courtyard again, Wei takes a picture of Wu's stick and goes out in person. Biao also rushes out of the courtyard to join hands with Li. Yuan Dao's action design here is another highlight. Li Haisheng's performance seems to have never been so credible. He not only plays tricks properly and quickly, but also uses his fists and hands. Note that Yuan Biao's boxing position will always match the waist and horse. This realistic routine is consistent with the basic skills of Hong Quan. Sanmao came but was hit by Li's cinnabar palm. Biao and Wei resisted for a while and set San Mao to escape.
Yuan Dao's ingenious, neat and rhythmic action design can be seen in this scene. He is also very good at using lens language (such as quick shot to capture part of the lens, quick shot to reveal the panorama, slow shot) to enlarge and visualize the action effect.
Lin Shirong practiced the basic skills of playing bridge under the guidance of Hua Fucheng. The itinerary includes bridge transportation, bridge separation, fixed bridge, bridge crossing, straight bridge, flexible bridge, rigid bridge, mobile bridge and bridge lifting. Training does not have much dramatic effect, but it is a realistic expression of Hong Quan's strokes. Ah Rong created a bridge to attack presbyopia, but only this semi-trick, Fan Meisheng, was replaced, cleverly avoiding Ah Rong's bridge hand, Ah Rong lost his center of gravity, and a dog ate shit and threw himself on the ground.
The strange cat decorated with Zhong Fa chased Ah Rong's hiding place, and they fought in the ancestral hall where the coffin was parked. Zhong Fa is a first-class martial artist in Hongjiaban, and his skill can definitely be compared with Yuan Biao, Yuan Hua and others. Sanmao spared no effort to design the play quaint and full of new ideas, and the two also tried their best (except that Zhong Fa flew behind Sanmao, kicked his front foot, jumped on the beam, and made a virtual long mirror by using the close-up cover of the beam). Every round is a fast full-mirror fast break. The juggling skills of Zhong Fa's tumbling and jumping, and the juggling with the crooked beam on the upper beam and the crooked beam on the lower beam, portray the corner of the strange cat vividly. And the lights and lens of Yuan Dao show the strange atmosphere of war incisively and vividly. In addition, Yuan Dao skillfully uses steel wire on the strange cat to complete some unconventional actions that need to overcome the gravity of the earth. Hehe, this is one of Yuan Jiaban's action cheats.
Lin Shirong took his brother's spirit tablet in his hand to avenge the tall poster. Sanmao, like an angry bull, slammed down the doors of two thugs and then pounced on Feng Kean. A squat, feng fell to the ground, followed by a foot, feng fell back and crushed the table. San Mao growled and punched directly, and Feng grabbed the chopping board to protect himself. The iron fist penetrated the board and hit Feng in the abdomen. Feng drew his sword and San Mao stepped forward without hesitation, grabbed the stool and flew up the dagger, then hooked his right foot and kicked it on Feng's head. Sanmao punched Feng out of the house with the fist of "rhinoceros looking at the moon", then raised his hands and threw him back indoors (Feng's tailbone was cut on the door frame and his body fell backwards to the ground. Oh) Sanmao went back to the house, ignored Feng's story and hit him on the head with a spirit card, and Feng was killed. This scene is a typical three-hair action, and the two can go all out to achieve the effect. Sanmao always clenched his fist and glared at him, but his actions abandoned complicated tactics and showed the truth that Lin Shirong was eager for revenge with more direct fighting. Except for that dangerous sitting posture, almost all of Feng Kean's somersaults showed no trace of somersaults, which was considered to have betrayed all his strength. The lens also captures the start, hit, middle and fall of the action in the panorama, with little cutting and splicing. Let people see it in one go.
Finally, in the street, the angel of Grade Eight fought with his tiger crane fist, and the old man Hua pointed to Ah Rong. This is an eight-minute duel between two people. Under normal circumstances, it is easy to make the action dull after such a long period of pure bridge handsaw, but Yuan Dao has proved himself to be a master of unique design. The first is all kinds of moves. Li Haisheng's palm technique can be divided into five forms: gold, wood, water, fire and earth, and his palm technique style has its own characteristics. Sanmao combines the twelve fingers of Hongquan with tigers, cranes, dragons, snakes and leopards in various ways. In addition, make full use of Sanmao's physical strength, let him prance, roll around, climb high and climb low. Let the whole fight be full of dynamic rhythm, not poor in-situ sawing beat. On the camera, Yuan Dao used a combination of panoramic view and middle shot, showing the starting, shifting and rolling with panoramic view, and capturing the details of the bridge player's backhand with middle shot. In addition, the third-person perspective is reflected by the old-fashioned over-the-shoulder and over-the-waist lenses, as well as the flexible use of overhead and overhead space lenses. Sanmao was replaced by Yuan Biao after flying on a bench with a big view, and all the other flips and jumps were done by himself. Considering San Mao's weight and the frequency and amplitude of his movements, it is estimated that his physical exertion in this war is very amazing. Finally, Sanmao broke Li's five-shaped palm with a combination of tiger and crane and a rigid bridge, and kept the signboard.
Comprehensive (4.5/5)
If I put Sanmao in the position of an action actor and choose a work representing my own kung fu from the 1970s, then I will not hesitate to choose Lin Shirong. The scene of the film, which is nearly 1 10 minutes, seems a bit lengthy for a kung fu film, and Yuan Dao has no more innovation in the plot, and it is still a humorous routine for naughty disciples to learn revenge. However, Sanmao's interpretation undoubtedly adds a lot of color to the role of Lin Shirong, and using Hong Quan's direct disciple as the protagonist of the story also makes it attractive.
The biggest attraction of this film is naturally the exquisite kung fu created by Yuan Jiaban and Hong Jiaban, and the dream combination of Eight Lords and San Mao is even more rare. Eight lords is a master of teaching students in accordance with their aptitude. Jackie Chan, Yuan Biao, Qi Zidan, Jet Li and other superstars have all cooperated with him with their own characteristics. If you compare him to a calligrapher, he is versatile. He can not only write horizontal and vertical orthodox and vigorous regular script, but also be good at cursive script like Youlong flying phoenix. In Lin, Eight Lords obviously adopts the former's more realistic technique, which is consistent with Sanmao's own characteristics.
In action design, the two sides learn from each other's strong points, and Sanmao's short shot and quick attack combined with Grandpa Eight's delicate brushwork can be described as complementary and perfect. In terms of camera performance, Eight Masters pays attention to details, and his shots often have a symbolic "freehand brushwork" technique, which may be related to Yuan Jiaban's behind-the-scenes skills, such as the well-known slow motion, pushing the mirror for details, and clever use of steel wire.
After watching Lin Shirong several times, I am always amazed at why people forget this solid kung fu classic when talking about drunken boxing, snake-shaped tricky hand and Buddha's paw arhat boxing.