Multiple clues interweave to construct an innovative narrative
The Greatest Hero of the Condor Heroes is adapted from the last seven chapters of Mr. Jin Yong's novel The Condor Heroes. This adaptation can be described as an innovative process of martial arts movies. In the words of the famous writer Zhang Zeyong, "Tsui Hark is amazing and dares to bite the bullet. The novel and TV series of The Condor Heroes have such a great influence that it is difficult to adapt them into a movie, not to mention that it is a two-and-a-half-hour movie. It is indeed a high-level production." However, director Tsui Hark's adaptation is indeed of a high level. The main film of the movie uses Guo Jing's search for Huang Rong as the main line, and the family and country righteousness, the grievances of the Jianhu, the loyalty and filial piety, and the love between children as the hidden lines, which are seamlessly interwoven and integrated, completing the interweaving of multiple clues and constructing an innovative grand narrative.
The opening of the movie uses the smoke-filled and war-torn war scene as the background, which naturally leads to the key clues of the protagonist Guo Jing's search for Huang Rong, giving the act of "searching" a deeper and special meaning. In that era of war and chaos, it is hard to find a person, and every step is full of unknowns and challenges. Guo Jing never gave up looking for Huang Rong. In the process of searching, he encountered the tragic scene of the battle between Jin and Mongolia. Guo Jing knelt on the edge of the cliff in grief, staring at the soldiers lying in a mess with sorrow, his eyes full of pity and unbearable. Huang Rong also followed Guo Jing's search, from the Central Plains to the grassland, not only was she thrilling, but she also saw the cruelty of war. The mutual search between the two people has both the chivalrous tenderness unique to the world of martial arts, and the chivalrous compassion in martial arts works. In this long and arduous journey of "searching", the audience can clearly witness Guo Jing's growth and transformation from immaturity to maturity and stability, and better understand the origin and location of "knight".
More importantly, from this seemingly simple two-way search process of Guo Jing and Huang Rong, the clues full of romance and thrills spread like vines, leading to two more magnificent and magnificent clues. Among them, Guo Jing implicated the Great Khan line and the war logic closely related to it, from the power game on the Mongolian grassland to the battlefield fighting, showing the cruelty of war and the complexity of politics; Huang Rong implicated the West Poison line and the relevant rules of the jianghu, from the disputes between the jianghu to the competition between masters, highlighting the dangers of the jianghu and the subtlety of the rules. These two clues are like two rushing rivers, flowing separately at first, and then gradually intertwined and converged on the grand historical stage of the Song-Mongol border war. From the initial emotional line of love between men and women, it gradually progressed to the family and country line that concerns the people of the world, from the sword-fighting in the jianghu, it sublimated to the lofty realm of family and country righteousness, perfectly following the traditional ideological vein of "cultivating oneself and managing the family" to "governing the country and pacifying the world", and constructing a grand narrative system with rich levels and rigorous structure.
The film has multiple elements interwoven, and the rhythm is precise and just right. Through Guo Jing's compassion for the soldiers, the camera switches to his memory, returning to the scene of the first encounter between him and Huang Rong. In this series of flashback memories, the first encounter between Jing and Rong is undoubtedly the most brilliant adaptation. In the original work, when the two first met, Huang Rong disguised herself as a little beggar and had some disdain and teasing intentions towards Guo Jing. Guo Jing kindly invited her to eat meat buns, but she threw them to the dog willfully; Guo Jing had no intention of treating her, but Huang Rong chased him all the way to the store, so he had no choice but to treat her to dinner. As a result, Huang Rong was not polite, and ordered expensive wine and food. After a few bites, she felt that the food was cold, so she willfully asked to pour it out and serve it again, continuing to make Guo Jing spend money. In Tsui Hark's careful adaptation, Guo Jing and Huang Rong's first encounter took place in the bloody and cruel battlefield after the extremely tragic Mongolian-Jin War, when the aftermath of the jianghu fight had not yet subsided. The two of them became friends because of their common compassion and commemoration for the innocent souls who died in the war. The "good fortune incense" and "chicken stewed in peach wine" have become their unique and meaningful tokens of love, which is undoubtedly the original design of director Tsui Hark. On the pile of firewood on a rainy night, Huang Rong ingeniously set up an iron gun to attract the thunder and ignite it as a memorial incense to commemorate the lives lost on the battlefield. This compassionate heart just shines into Guo Jing's heart like a beam of light. Guo Jing sighed: "These people can't imagine that a stranger will come to commemorate them." While speaking, he was also picking up the swords and guns on the ground. Isn't he the person who is full of compassion even though he has never met them before? This common emotion and value is not only the cornerstone of their emotional and cultural identity, but also the key factor that makes them become like-minded and soul-matched spiritual partners.
From the perspective of plot setting, this plot plays a crucial role in turning and foreshadowing. It is said that Mongolians are naturally afraid of thunder and dare not go to war once they hear thunder. This also explains why Guo Jing, who grew up in Mongolia, would subconsciously protect Huang Rong when he saw thunder. Later, when he seriously answered Huang Rong, "Thunder has no chance", this firmness not only made his steadfast love for Huang Rong naturally reveal itself, but also showed that he was strong in heart and no longer afraid of thunder. The "chicken stewed with peach blossom wine" that "Little East Evil" Huang Rong unexpectedly buried under the firewood pile is a unique design that can be called a stroke of genius. It is both a sacrifice to the dead and a food for the living. It cleverly transforms the coldness and solemnity of death into the warmth of fireworks in the world. This is completely different from Guo Jing's original cognition and imagination. It not only vividly shows Huang Rong's unique character of being informal and eccentric, but also ignites Guo Jing's curiosity and yearning for Huang Rong, and also lays the groundwork for the following plot.
Later, Huang Rong hung signs of "chicken stewed with peach blossom wine" all over the city, cleverly guiding Guo Jing to come and find her. Some people have wondered why the sign says "Chicken Braised in Peach Blossom Wine" instead of "Shanyuanxiang"? In fact, Huang Rong's next line gives the answer: "I have been waiting for the brother Jing I know." On the one hand, Huang Rong used "Chicken Braised in Peach Blossom Wine" as a test to judge whether Guo Jing is still the kind, upright, and loyal brother Jing in her memory, because only her brother Jing would naturally associate "Chicken Braised in Peach Blossom Wine" with "Shanyuanxiang"; on the other hand, since Huang Rong learned that the Mongols were borrowing the road to attack the Jin Dynasty, she was sure that Guo Jing would stand up to stop the war, and she herself quietly lit "Shanyuanxiang" every rainy night, looking forward to her brother Jing's return. How can such a romantic love story that runs in both directions not move people? Moreover, at the end of the film, Guo Jing asked Huang Rong if she wanted to return to "Peach Blossom Island". At this time, "Peach Blossom Island" is not just a geographical concept, it is regarded as a paradise away from the turmoil of war, peaceful and harmonious. The whole city is full of signs of "Chicken Stewed in Peach Blossom Wine". In the tense atmosphere on the eve of the war, this unique scenery has become the last symbol of tranquility and romance in the border town. "Chicken Stewed in Peach Blossom Wine" and "Shanyuanxiang", two original designs unique to the movie version of "The Legend of the Condor Heroes", are ingeniously conceived and profoundly meaningful. They are really fascinating. It is well deserved to say that Director Tsui Hark is the person who understands martial arts romance the most.
Director Tsui Hark interweaves multiple elements to construct an innovative narrative. He dares to break the inherent pattern and explore new themes and new types. It can be said that the movie originated from Mr. Jin Yong's original work, and to some extent it is higher than Mr. Jin Yong's original work. When editing the scenes, he made full use of montage techniques, cleverly inserting a series of crucial plots such as the first meeting with Jing Rong, learning martial arts from Hong Qigong, and the great changes on Peach Blossom Island. Through flexible switching of perspectives, he inserted the stories into the main film, so that even viewers who have not read the original novel can easily understand the cause and effect of the story. The various clips are closely connected, compact and orderly, without any sense of procrastination and length, making the presentation of the whole story clear and easy to understand.
миллион нарезок с Маяком в сердечке анона))
