Movie analysis
Hong Kong has one of its features of being one of the few regions that are left where its population if given an opportunity prefers to have their own films as compared to that of the American movies. Thus the region is highly out grossed by locally made films with all the hybrids of all types of genres. The films are presently being distributed all throughout the world and majorly in Asia. The movies constitute a single meta-narrative that integrates every accessible variant of over-romantic, overemotional as well as horrific plotting that are set so as to beat continuously synthesized pop music. This paper therefore will present some of the various features and characterization of three films that is: a better tomorrow, the killer and once upon a time. Contrast will also be discussed in the paper.
The film a better tomorrow is one of the Kong action movies which are one of the favorites back then in 1986. The film was directed by John Woo’s whose action epic transformed into a massive achievement and a highly powerful film in the Hong Kong cinema. It also was one of the movies that shifted from Chow Yun Fat from a local action icon into an international action icon. Mark Lee is one of the new exclusive action figures who portray Chow’s character. This movie is a master piece as it uses Mark Lee’s physical appearance to recreate some of the Chow’s famous poses for the movie. The image that is brought about Chow Yun fat a character in the film riding in a speedy boat towards the harbor where his enemies are located all together with his machine gun blazing as well as his face erupting in a triumphant grin, not only evokes death as well as destruction but rather a blissful eraser of the world and all its infringement.
A better tomorrow is one of the noticeable films following its unique development of the theme of friendship as well as honor within the contemporary world. The characters in this movie are not only motivated by sarcasm and self interest but rather by both love as well as shared respect which is one of the example of sorts for the prospect films especially in the epic blood spill genre. The movie however lacks the joyful extent of its sequel’s gonzo in the final operates. This movie can thus be grouped as one that is better polished, resonant piece of the Hong Kong movie making and absolute genre significance. Once upon a time goes as far as the revitalization of the kung fu genre. However, the killer movie has emerged as powerful film figure of the earliest times in the past decade with a high speed narration as well as an optical panache whose movie resembles a music video. This film makes the main character Jet Li, another global martial art star that is perceived to follow in the steps of Bruce Lee as well as Jack Chan (Armstrong 146).
The killer movie however creates its own visual display and language and this therefore has left a seismic impact on everything that followed after this movie. It is thus a piece of art that leaves the viewer with something to stare at since the script writer focused more on the beauty of bodies of characters who fly through the air with blood squibs found under the white shirts (Bettinson 35). Chow Yun Fat character is used to represent the unrealism as his fat eyes are seen to dance even while he has bullets that are moving around him. This is quite an exceptional piece of art as well as visuals. Once upon film conveys a visual jam filled feast of the stylized action that is within the historically based story which boldly echoes the concerns of the contemporary society. This is as well a form of art. However, the movie refrains from the unrealistic style of acting and the characters use realistic methods that make the movie an exceptional (White 89).
All these films represent a melodrama story where characters shoot at each other. The lead performers are surrounded with crazy things that drive everything into a representation of unreality. The dizzy handheld cinematography and a gorgeous violence are used in the films with an unearthly synth-score. This is evident from the films as none of the characters who shot at each other are worried that they will run out of bullets but yet they fire more than a single shot. The context of reality that the film portrays makes its own form of sense in the killer film. Once upon movie on the other hand is a more accessible film and is an action movie in Hong Kong setting. It is a film balance of action, drama as well as humor. However, just like a better tomorrow film and the killer movie uses a violent imagery but it has a reality world setting that may fail to appeal sensitive to the viewers.
A better tomorrow and the killer movie have a similar aspect as they both have a deep and earnest feeling of volcanic power that overwhelms the world that surrounds the characters. The victory remains complete even though the avenger has to die as it is regularly the case with a small price that they have to pay for the emotional fulfillment of conveying the world with him.
Once upon a time film is involved with negative effects of the western imperialism especially in China and is without a doubt politicized. Though it shows the nationalism of the Chinese it however displays the certain nature of the acceptance of the Western way of doing things and the development of the China nation into a contemporary century. This theme is repeated all throughout the plot of the film as portrayed by the various characters in the film but mostly portrayed by the master Yim character. The film has uncannily convincing quality of the prehistoric Chinese fiction which has a great deal to do with the manner in which he new characters and aspects keep entering the circumstance, and the fast movement of the events that ties up any loose end of the film (Armstrong et al 147).
The character in the killer and a better tomorrow film expresses an exemplary performance with a vocal range permitting the character to range from the lachrymose pathos to unrelenting heroes. However in the killer film, the character plays an expertise assassin who carries out a one last killing with an intention of paying for the cornea transplant for the lady that he had blinded in advert during the earlier on shoot out. Once upon movie in China has an interesting plot as from its historic perspective. It also has beautiful choreography as well as cinematography which make the film a stronger version as compared to the other films in addition to Jet Li’s exceptional display of martial skills. Direction of the film’s plot s just but stunning while the fight scenes are regarded as the best that have ever been filmed. The movie conveys a good acting with peak martial arts, an engaging story as well as a directory from the producer (Morton 195). The story behind the once upon a time in China movie explains an epic story that revolves around love, loyalty, brutality, hilarity, nobility as well as morals. The scenes in the movie are directed masterfully and excellently creating a scene of both passions as well as intricate. The theme of confusion is paramount as evidenced by the actors in the story who are lost and chaotic. The influence of the western culture is highly portrayed in the film and especially in the antiquated firearms that the film uses in the 19th century in China which has resulted into conflict between the ancient Chinese and the European invaders.
It is thus notable that the Hong Kong movies are recognized due to their story telling features other than their stories. They are also recognized following their global reputation for outstanding artistry. However with the new era, there is evident emergence of technological advancement that has enhanced the production value of these films. The movies uses special effects with luscious color scheme of the traditional Chinese culture thus resulting into unique cinematic experience of the Hong Kong martial arts movies.
References
Armstrong, Richard B, and Mary W. Armstrong. Encyclopedia of Film Themes, Settings and Series. Jefferson, N.C: McFarland & Co Inc, 2010. Print.
Bettinson, Gary. Directory of World Cinema. Bristol, UK: Intellect, 2012. Print.
Morton, Lisa. Cinema of Tsui Hark. Jefferson: Mcfarland, 2009. Print.
White, . Cinema Detours. Morrisville: Lulu.com, 2013. Print.
