Wei Junzi

Wei Junzi

Filmmakers, producers, screenwriters, planners, producers. Born in the media and working as a writer, he has published "Hong Kong Film romance", "Hong Kong film history", "Hong Kong film fragments of foreign history", "martial arts master: Zhang Che" and "Chinese film power: an interview with leaders" in mainland China and Hong Kong and Taiwan successively.

Characters and deeds

His works Hong Kong film fragments and Hong Kong Film romance introduce many stories of Hong Kong film in detail

For details, please visit its Sina blog

In Netease, I have hosted the Hong Kong made forum, which is a gathering place for Hong Kong film fans.

He was the chief editor of Sohu Entertainment Special Comment department and director of Sina entertainment planning department.

In 2014, Beijing Jizhi image film culture Co., Ltd. was established as the producer and producer of the film "Qimen dunjia".

In October 2020, he served as a review judge of the jury of the 7th Silk Road International Film Festival · venture capital meeting.

Character works

Literary works: Romance of Hong Kong films, historical records of Hong Kong films, fragments of Hong Kong films in the history of the world, great master of martial arts: Zhang Che, revealing the power of Chinese films: an interview with leaders

Planning films: meet you later, small age, growth of all things, gorgeous office worker

Production and production: Qimen dunjia

Publicity planning: storm and Macao Storm 2

Screenplay: the growth of all things

Selected film reviews

Sister Tao: smile and tears

Xu Anhua is one of the most important film directors in Hong Kong in the past 30 years. In 1982, he directed "to the angry sea", which was one of the few Hong Kong films with the theme of international political events (the liberation of Vietnam by the Communist Party of Vietnam). After its release, it was a big hit. Jackie Chan and Hong Jinbao were not allowed to make action films at the local box office. It was the golden age of Hong Kong films. Commercial action comedies were popular. The boss and director were willing to make realistic films or art films that focused on society and themselves. Xu Anhua was a famous actor of that era. He was calm and confident. Even if the collective creation of new art city became the mainstream, he was still used to the arbitrary style of the director. He dared to try any subject matter, regardless of success or failure. In the 1990s, when the Hong Kong film market was in decline, another film, woman 40, also created a box office myth. She also made her debut in the three major European film festivals (Berlin). After 1997, Hong Kong films fell to the bottom. Although Xu Anhua had "a thousand words", he once drifted with the tide and "ghost world" in the face of the general trend. Yu Guanyin and my aunt's postmodern life show the hesitation of going to the north. In recent years, two low-cost "Tian Shui Wei" show the ease of returning to the local theme. However, if you ask Xu Anhua, who is over 60 years old, whether he can create a more elegant and popular style and win the market after winning the award, I think that the new work "peach sister" is hopeful, but it has nothing to do with the so-called revival of Hong Kong films.

"Sister Tao" is based on the true story of Hong Kong film producer Li enlin and his maid. Although this is a rare big production by Xu Anhua in recent years, she is confident in her creative attitude. She does not care whether the mainland audience understands what kind of master servant relationship should be in Contemporary Hong Kong, but only buries herself in telling the story of her life in the face of death. The most difficult thing is to deal with this kind of heavy realistic theme, and find a balance between "day and night in Tianshui" and "woman forty". Generally speaking, it is "laughter and tears", and careful aftertaste is the consistent embodiment of Xu Anhua's discussion of family ethics proposition and humanistic care.

Sister Tao is an ordinary person. She has no ups and downs in her life. She even has no self in her life. She only focuses on the "young master"'s three meals a day. When she is sick and can't work, she has to live in an old people's home if she has no home to take care of her. This kind of life without a sense of belonging is an important theme of Xu Anhua's early films, but "sister Tao" neither sees the "passer-by" mentality, nor embarks on the "root seeking" journey. Instead, it affirms sister Tao's self-worth from the perspective of "young master" played by Andy Lau: with her to take care of everything in the family, I have no worries, and I don't know what's difficult. Without her, I know the burden of chores. "Silkworms die, silkworms die, wax torches turn to ashes, tears start to dry." the poem read in the play is a portrayal of people like sister Tao and even parents all over the world. The "young master" is grateful and the master and servant are deeply affectionate, which is also rare in the world. The plot may be so thin and plain, but Xu Anhua is able to describe the moving details of "human feelings" and explore the relationship between life and death and the attitude that should be taken by the elderly home. In this respect, "sister Tao" is quite like "woman 40". Andy Lau and ye Dexian are just like Xiao Fangfang and Qiao Hong. Both of them have changed their relationship due to personal changes. The old people's helplessness, the middle-aged people's responsibility and pressure, and the warmth of mutual support. Although there is no dramatic conflict, the interest of life is full of the film, which makes the audience sigh in laughter.

It must be pointed out that the narrative technique of "sister Tao" is concise, and the editing rhythm is calm; the remaining force of photography is to move the mirror steadily, and take several pan shots from the inside to the outside of the old people's home, which has a strong sense of hierarchy and rich information, and is quite endurable. The plot seems insipid, but it goes forward layer by layer. For example, sister Tao's "ox tongue" and the young master's "going north" are the key plots that echo each other. Xu Anhua also takes "sister Tao" as a carrier of ambition, which not only has the calm discussion of death like "the undertaker", but also has the satire and ridicule of the social status quo, such as making money by opening the old people's home and making movies, and the Mid Autumn Festival condolence home on TV station has become a mere formality on the spot. In addition, because Andy Lau's role in the play is a film producer, he is also able to make fun of the film makers' embarrassment. Tsui Hark, Hong Jinbao, Yu Dong and Ning Hao play themselves in person. They are full of entertainment spirit.

Ye Dexian is skillful in playing the role of "sister peach". It's not difficult for her to perform an ordinary old woman. It's the character and sensitivity in the details of her life that makes her excellent acting skills. In this respect, Ye has unique skills, especially the delicate expression of anger and sadness. Every match with Andy Lau is vivid and unforgettable. It can be predicted that the queen of next year's Hong Kong Gold Award will be the best The first Venice film queen is also expected to win. Other actors, such as Huang Qiusheng, Qin Pei, Liang Tian and Qin Hailu, are all good actors. They can shape characters in only one or two plays, and Xu Anhua really gives them room to play. On the contrary, Wang Fuli felt a little stiff at first. She thought it was still an old problem that mainland actors didn't adapt to Hong Kong movies. But after watching her late night alone with Andy Lau, she realized that it was the director's intention. The relationship between the mother and the son is rigid. It's not enough to set off the fact that sister Tao's meticulous care for the young master has risen to another kind of mother child relationship. Chinese audiences may still have concerns that old idols can't be included in the film, but the effect of the film proves that Andy Lau is now competent for the film with a strong sense of life, and his years of tacit understanding with Ye Dexian has been upgraded again in "sister peach". Of course, the role close to his real identity makes him more comfortable.

"Pengshan has no way to go here, and the birds are eager to visit." Xia Meng, a Hong Kong film star, set up a film company and asked Jin Yong to name it. This martial arts novel master extracted the word "green bird" from Li Shangyin's Untitled poem as a gift. The pioneering work of "Bluebird" company is "go to the angry sea", which is Xu Anhua's most popular film so far. Andy Lau's first cooperation with her. Many years later, Andy Lau, as an investor and actor, cooperated with Xu Anhua again. According to him, it was for the director's saying, "I haven't had enough money to film for a long time". Therefore, in a sense, both inside and outside of the play are repaying their gratitude.

Both Xu Anhua and Du Qifeng are famous actors in Hong Kong films. What is a role? No matter how many people under the stage, no matter how brilliant and lonely, they can insist on singing their own plays. Now the stage has changed to Venice. I'm glad to see that the corner still has style. The strength of the wind remains, and Hong Kong remains.

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