60 -year -old Zhou Xingchi, and his cruelty that he will never change

June 22, 2022 is Zhou Xingchi's 60th birthday. 60 years of life ups and downs, but in the movie world, Zhou Xingchi's extraordinary place is his always cruelty -about Zhou Xingchi's films and this cruelty, the following is the interpretation of the professional film critic Mei Xuefeng-

Wen ｜ Mei Xuefeng

1

Zhou Xingchi is always misunderstood.

For example, in recent years, whether it is "Journey to the West · Demon" or "Mermaid" and other movies, some people always say that Zhou Xingchi has become more cruel, and it is not so good. I agree in the first half of the sentence, but the second half of the sentence is uncertain. In my eyes, Zhou Xingchi's good is from this.

What is the biggest difference between Wang Jing and Zhou Xingchi? It is that Wang Jing’s movie characters will not give you pain. Like many comedies, it will destroy everything to you, let you find that the world is meaningless, but all this is outside the safe distance. You will not feel the relationship between you and what it shows -you are at him, like a low -end comedy stage, he always makes you feel that you are consumers, they are slavered, all kinds of ugly shapes and weird shapes You will not really respect the characters in the movie, so you will not feel threatened.

And Zhou Xingchi's progress is that he will start to do so. With various laughter to let you relax your vigilance, and then at a certain moment, it shows the really painful side of life, causing you to be caught off guard. Just like in "Mermaid", when Lin Yun played the woman's murder several times, when the big octopus played by Luo Zhixiang was cut off several tentacles, you can feel the tricks of fate and the unlucky people, but all all All this is an exhibition of human fool.

Zhou Xingchi can always make the audience quickly remove their hearts in this madness of human beings, but when you think it is so, he puts some kind of truth and solemnly in front of you, so that you have to look at it.

Why do you see an extremely realistic picture when the mermaid is hunted down on the ground -the wound full of body, the fishtail is bursting, and has the blood and viscousness of naturalism? Zhou Xingchi has an extremely cynical style here. He is not intended. He just wants you to fall as soon as the plane crash, return to the world from fantasy, and let the pain like a giant sword to pierce your heart defense. Xiaoqiang, who couldn't die in front, removed the camouflage at this time. He was just an ordinary body like us.

Zhou Xingchi has always done this. He did not hesitate to show the pain at all, or all the laughter was for the moment for this moment. The increasingly tight tight curse in "Journey to the West" made Supreme Treasure, the unlucky egg of the cynicism, finally revealed his true affection. In "Kung Fu", the skull of A Xing, who was hit by the big sandbag, proved that he had an iron bone that never succumbed to his face. In "Journey to the West", Tang Seng's hair was pulled off, which made him understand his deep love for Miss Duan.

The pain in Zhou Xingchi is Nirvana's Buddhist name, allowing them to escape from their own disguise and society's norms and educational superiority, and return to the true self.

Picture source "Journey to the West"

2

Simply put, the film directed by Zhou Xingchi (note that it was directed by himself), all hidden a mother question returning to the true self. What are the things that hinder this true self? Class.

It is difficult for you to see the authors who are pure and consistently on the same theme like him. In his films, the opposition between the poor (little man) and the rich (big character), this division is insurmountable.

When the protagonist is the poor (little man), he tells the story of how the protagonist obtains a sense of existence in this unfounded world ("Domestic Ling Ling Paint", "Da Nei Tanling Lingfa", "The King of Comedy", "Shaolin Football", " ")); When the protagonist is a rich man (big man), he talked about the rich people who lost the bottom line and really recovered the simplicity of his long -lost long -lost (" God of Food "and" Mermaid "). Qian and success have become a reference department in his movie so dazzlingly, reflecting the confusion of the poor and rich in his movie, the kind of anxiety that cannot be found and the sense of security.

Picture source "Shaolin Football"

Zhou Xingchi is a real anger, but he hides so well that people forget this. Li An said that Zhou Xingchi talked about children's things, which makes sense. But why is a person who is so tirelessly obsessed with fairy tales? This lies in his impression of mental and material deficiency. Those who know that fairy tales are so far away will really like fairy tales, but in the process of making fairy tales, he involuntarily mixed the miserable underlying life.

What is the essence of nonsense? In the context of the 1990s, we understood it as a resistance to authority and noble solution. It is not difficult to understand that based on their own experience, young students and intellectuals in the Mainland will naturally imagine it as a destruction of hypocrisy and aging.

But combined with Zhou Xingchi's growth background, I prefer to understand Zhou Xingchi's nonsense as a kind of madness of a underlying person. Don't take it seriously for you.

Because the former colonies in Hong Kong do not have the pain of values ​​as strong as the mainland, the peculiar style of Chow Xingchi from the Kowloon City in this way should be more reliable. He deliberately exaggerated and naive is not only Wang Shuo's "I am a hooligan, who are I afraid of?", But on the other hand, it also achieves self -balance through this self -derogation. Simply put, his films are always intertwined in the middle of his abuse and abuse. This most basic psychological gene has penetrated into his casting and plot design.

Take a few simple examples. In "Shaolin Football", Zhao Wei, full of pustules, came to Zhou Xingchi like a plastic model. Zhou Xingchi rejected her confession. , But hit Zhao Wei's face with one palm.

What Zhou Xingchi wants you to see is that it is not enough to refuse others, and you have to applaud the flies and slap for this rejection. How cruel this is, this is sprinkled with salt on the wound, but only when we regard the damage, the harm will not work for us.

another example. In "The King of Comedy", the unemployed youth and young and confused fees graduated from Hong Kong University to collect protection fees. Under Yin Tianqiu's various unreliable guidance, he was abused. Finally, the Boss Boss was moved by his dedication. He gave him 20 yuan. At this time, the director Zhou Xingchi handled it like this. Yin Tianqiu and Hong Ye came over and said well, and then let the poor guy continue to hold the double -knife posture, slap and slap him to continue to experience the anger of being angry. Essence

When the insult arrived, Zhou Xingchi did not use warmth to eliminate it, but instead replaced it in a more insulting way. This lens revealed that Zhou Xingchi was extremely pessimistic, a kind of almost desperate self -proclaimed: Your Struggle looks so ridiculous, only treats it as a clown. These seemingly extra slaps are actually alarm wake -up to wake up the cold and ruthlessness of the world.

Picture source "King of Comedy"

3

In addition to the desperation of self -abuse from the desperation of changing destiny, it also comes from his deep uncertainty about self, that is, "I'm not a thing" is not just Wang Shuo's camouflage, but to some extent, it is his True thoughts. So his movies are always hesitant in self -affirmation and self -abandonment.

Zhou Xingchi has always been polite to his protagonist. They all have some kind of ideal that does not match their identity and looks ridiculous. In "Domestic Ling Ling Paint", it is the division of pork guys and top agents; in "Da Ni Tanzi Detective", it is the fit of the former guards and folk gynecologists; in "Shaolin Football" With Shaolin Master is a person's two sides; and in "The King of Comedy", the acting master and the door -to -watch room coexist in harmony and awkwardness in a person.

He was apparently moved by the idealism of these characters, but he couldn't help but break through this idealism of idealism -they vanity, high and far -reaching, and the big flag became tiger. In the later period, Zhou Xingchi deepened. In "The King of Comedy", it is difficult for you to distinguish the protagonist who is really talented in acting, and it is just a poor worm that is intoxicated in his illusion. In "The King of Comedy 2", this kind of unknown pitiful is further enlarged, showing the laughter in the bones. This ridiculous is no longer the so -called upper class' discrimination on the underlying society, but Zhou Xingchi as a member of the class, and has deep reflection on himself.

In fact, in the "King of Destruction", which was first displayed in Zhou Xingchi's values, we can clearly see this. His protagonist is a waste that can only be described as "good people". He is unique in this world. He is a true coward. In the end, he won the victory, relying on the "invincible wind fire wheels" that was tangled. The essence of this invincible wind and fire wheel is to give up all skills and burn with the other person's jade -that is, the protagonist is still a waste in the end, but his last death tactics make the most powerful enemy also vote for defeat.

Picture source "The King of Destruction"

Success with courage and love with sincerity is the last romance of incompetence in the world, and it is the only fantasy when they have nothing to do. The lingering bitterness and despair from Zhou Xingchi from the movie comes from here.

This kind of self -spicyness is also reflected in Zhou Xingchi's handling of love. In fact, there is no love in Zhou Xingchi's movie.

Whether it is the turkey played by Mo Wenwei in "God of Food", or Liu Piaopiao played by Cecilia Cheung in "The King of Comedy", or A Mei played by Zhao Wei in "Shaolin Football", they are just the heroine and the dismissal and The confidant of the fell -stuck, when the whole world does not give them any right eyes, these women believe him unconditionally. So this feeling does not come from sensuality or love, but more friendly, a kind of kindness.

Zhou Xingchi especially likes the role of ugly girls. Whether it is turkey or Amei, it is an ugly woman in the world. This is the reality or truth that Zhou Xingchi is difficult to cover up -the protagonist has won the favor of these women, and these women are not self -confidence from the hero's admiration. In the final analysis, there is still a relationship of warming with each other. There is no real love here. This may also be the real reality of the feelings of the bottom people.

Zhou Xingchi is even more fierce that he does not hide his hero's snobbish. When they are famous, they are not sad but abandoned them. In the end, they were again together. At this time, those "ugly girls" were plastic surgery without exception -the subtext here said that if they are not beautiful, they cannot be together. In the later period of "Mermaid", Zhou Xingchi was the first time Zhou Xingchi took love as the theme. As for the most love "King of Comedy", he still talks about success. It allows Yin Tianqiu's life to not defeat. In "Mermaid", Shanshan, played by Lin Yun, let Liu Xuan played by Deng Chao, which may be loosened by Zhou Xingchi's old values. Compared with the rights and money that can even have some disgust and money, scarce, scarce, scarce, Love may be more cherished.

Picture source "King of Comedy"

The cruelty and disillusionment in this bone is the real difference between Zhou Xingchi's movie.

It is this desire for this world that cannot be hidden, and those ridiculous failures that are shocking and unique, and Xiang Xianghui reflects the tragedy and comedy that belongs to Zhou Xingchi. The comedy tells meaningless, and those real pain he does not avoid in the film tells the real price paid behind meaningless. Because of the tension of this desire and failure, Zhou Xingchi's films have an almost enthusiastic existence anxiety. When I did not admit it, I felt the maliciousness of the entire world. When I had everything, it was tortured by the hidden moral conscience.

But what is unchanged is that Zhou Xingchi's brutal understanding of the world itself is as stubborn as an old man, and he exaggerates his words like a child. In his dual world, there is no word for the independence of the poverty, only two paths of destruction and rebirth. There is no gradient color in his aesthetic map, only the front and back sides, just like the ten dollars of "Rugao God Palm" is really a peerless martial arts. "Three hundred children's songs" is actually the variant of "The Great Rulai True Sutra". Essence Because he did not really believe in the success of his protagonist, he could only use fairy tales without logic.

Fortunately, with this despair, his madness can find the source, so that all the jokes secretly connected to a kind of failure to feel blood and break the bones.

Picture source "King of Comedy"

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