Master： Xu Haofeng’s confidence and unique martial arts movies

　 　 Special feature of 1905 film network After that, Xu Haofeng was spread more and more. The media is eager for legend, and peers are looking forward to performance. In addition to the common names such as writer, director and martial arts instructor, rumors have claimed that this college teacher has become the head of a certain sect. However, just as he and the famous "academic" directors in recent years can’t be easily classified into the ranks of China directors divided by generations, Xu Haofeng and his films can’t simply be classified as traditional martial arts films. This made Xu Haofeng embark on a completely different road from the previous martial arts movies since he made his debut in 2012. And to this part, not only is the master passing by, but you can almost see the entrance of the school.

　 　 Record companies always advertise newcomers with the banner that "no one has ever sung like him". This sentence can also be used in Xu Haofeng’s name: no one has ever made a martial arts movie like him. It is precisely his strength and fortune to break the wind direction led by Hong Kong for a long time. Nowadays, the brand of the new school of martial arts can definitely afford to make movies by taking moves from oral instruction.

　 　 The film has been in China for 110 years, and the martial arts film has a history of 87 years. Since the first martial arts film, most chivalrous swordsmen wear Peking Opera bunt and follow the routine of Wusheng peking opera blues. What did the ancients wear? It was not until two great directors, Li Hanxiang and Hu Jinquan, that the film circle became addicted to textual research, and gradually took off their costumes and embarked on the road of life. However, the improvement of martial arts drama is not so easy, and Hong Kong people carry forward the title of "martial arts director" to shoot action scenes instead of directors.

　 　 Although there is no martial arts in the Hong Kong martial arts circle, Liu Jialiang, the famous director, is a direct descendant of Hongquan. However, the mainstream still belongs to Cheng Xiaodong and Yuan Heping, who have a background in Peking Opera, and Jackie Chan and Sammo Hung, members of the "Seven Little Happiness" from the troupe. These martial arts refers to the "monopoly" of Hong Kong martial arts films, which makes the action scenes more and more dazzling, in order to highly purify the word entertainment. It made the martial arts films develop into the 90′ s full of gods and buddhas. The action styles they created also spread from Hong Kong to Greater China and even Hollywood. After the new millennium, Zhang Yimou is still the remnant of Xiangjiang River, which is a trick and a half, and all of them eat the old money accumulated over the years. This year, Chen Kaige remake a novel from Xu Haofeng, and the martial arts instructor still invited Ku Huen Chiu from Yuan Jiaban, playing the same trick as Stephen Chow 10 years ago. Therefore, the appearance of Xu Haofeng and his films is just to get rid of the action design of Hong Kong martial arts films and return kung fu to Wulin. This year’s Golden Horse Best Action Design Award of Master is absolutely justified.

　 　 In Master, Liao Fan, the hero, played Wing Chun. In the Republic of China, Tianjin was mixed with foreign countries, and the kinds of boxing flourished; Wing Chun is just a small boxing in the north, and there are a lot of local sects in Tianjin in the story. Xu Haofeng is a practitioner. Although he has never played Wing Chun, his cooperation with Wong Kar-wai has made him know many Wing Chun masters. The rest of the boxing and even the sword and halberd have the director’s own textual research results for many years. With this foundation, "Master" can be described as full of confidence. In addition to fists and fists, weapons are another highlight in Master. In the street fighting at the end of the film, Liao Fan held an eight-blade wing chun weapon, and all the tricks and styles he made were also verified by Xu Haofeng from the previous generation. Xu Haofeng didn’t design any fancy and unpractical lens, but Liao Fan’s intention in the movie was to preach the knife method, which sounded like what Xu Haofeng himself wanted to say to you: I showed all my moves, and how much I took depends on the individual.

　 　 The implication of dialogue is another feature of Xu Haofeng. With his participation, the script of "A Generation of Masters" was once eloquent. The words in "Master" are divided into three parts, which is the same as the rhythm of the film, and it is also integrated with the style of Xu Haofeng’s novels. The film relies on the original work, so it is extremely literary. In the first half of the film, Master Chen Shi, played by Liao Fan, got acquainted with Tianjin Wuxingtou brand, and Zheng Shanao, played by Jin Shijie, was intended to make a name for himself. Although Zheng Shanao fully assisted, he also intended to use Chen Zhifeng to retire. After the relationship between this group of characters is abstract, it is the template of the so-called borrowing people to ascend to heaven and becomes a skeleton in the literary sense. Filled with flesh and blood, it is only in the moments when the director is most ruthless that the wound is torn open, so that you can see what the bones and muscles that support the flesh look like. From this perspective, the martial arts action scene is only the first layer of the film, and it is also the most eye-catching commercial element; The helpless sigh for the lost years is the second obvious layer, while the core refers to the interaction between people in any society. The inherent richness and ambiguity of the film also makes Master surpass the previous martial arts films and appear more authentically.

　 　 In addition to the literary significance of Master, Xu Haofeng still wants to make sense out of things, saying "rules", the two most beautiful words in the film. In Zheng Shanao’s mouth, the rules were established by ancestors and handed down by the people; In the eyes of curator Zou, played by Jiang Wenli, rules are just the game of those in power. The confrontation between these two logics is precisely the confrontation between the old and the new in this era of the Republic of China. Fame in World War I is only the plot in the story. From the first movie, Xu Haofeng tried to put the truth he believed in into the characters. However, this only created a thousand people’s side in The Trail of the Enemy. It was not until this "Master" that martial arts became successful, with the times as the skin and the characters as the bones.

　 　 Therefore, Master, as a martial arts film, is unique in two aspects, one is the innovation of action design, and the other is the significance of martial arts film as a genre film. These two layers coexist and grow together, and they are both inside and outside each other. In the film reviews he once wrote, Xu Haofeng himself wrote that the fear of certain things supports a genre film, while the martial arts film should be the fear of modern guns. Xu Haofeng abandoned Weiya and body double and told such a story in the Republic of China, which was precisely the practice of his own theory.

　 　 In the film, Liao Fan uploads his fist to the north alone, comes from nowhere, and leaves with an unknown surname, leaving only the street legends of his disciples who fought in eight martial arts schools in Tianjin. In reality, Xu Haofeng’s "Master" is actually a real northern fist going south, and the ability to settle down has been revealed, which won the Golden Horse Award. However, for Xu Haofeng, it is still famous and has not yet been established. To be a great master, it is necessary to shine a light on future generations. Therefore, people can’t help but expect that Xu Haofeng’s skill will eventually be learned by what kind of latecomers.