At that time, Shaw Brothers movies were not completely outdated. No matter how bad it was, a camel was bigger than a horse.
It is still an occasional good product, and occasionally a box office with a box office of over 10 million can emerge.
Moreover, he still has some talents, such as Wang Jing.
At this time, Wang Jing was still in Shaw Brothers Films, and his shooting style had already been established.
Li Changsheng doesn't dislike Wang Jing's style, it's not shabby to make money.
He is also planning to recruit Wang Jing, the best-selling director of "687" Hong Kong film in the future!
This year's Shaw Brothers' highest-grossing film "The Frog Prince" is the same as last year, starring Chong Zhentao. Wang Jing assembled a group of beauties and live treasures, and the filming was joyful and nonsense, and the routine of Jing's comedy gradually took shape. The trick of feces, pee and fart showed its sharpness, and the criticism of its vulgarity followed, which accompanied him throughout his career as a director.
Since the beginning of the film, Chen Baixiang has become Wang Jing's favorite actor, wasting his singing voice that was better than Tan Yonglin.
The film grossed 18 million and ranked tenth at the box office. The annual champion three years ago could not even sell for this amount, which shows the prosperity of the Xiangjiang market.
Shaw Brothers is still continuing to reduce production, and the total box office championship that has been won by the pile of bad movies has also been taken away by New Art City, but before the empire crashes down, it can still ignite the afterglow.
Fang Lingzheng, who has written many scripts for Shaw Brothers, including "Fire Youth", got the opportunity this year to direct his debut film "The Tang Dynasty Unrestrained Girl".
This film tells the story of Yu Xuanji, a famous poetess in the Tang Dynasty. The script was polished by Fang Lingzheng and Qiu Gangjian, and each character has a distinct personality.
Aristocrats are hypocritical, poets are weak, murderers are rampant, talented women are lonely, heroes take life and death lightly, and swordsmen abstain from lust. The chaos of Gangchang collapse in the late Tang Dynasty has a panoramic view, which makes people sigh
Qiu Gangjian later became his own director, and returned to Baodao to shoot a companion piece, "The Beautiful Man of the Tang Dynasty", with a more eclectic and wild aesthetic orientation.
Fang Lingzheng's directing skills surprised everyone. From the use of light and shadow, color matching, to screen composition, and dialogue design, they perfectly presented the ancient charm of Tang Feng. The details of clothing, living, and banquets are quite exquisite, and the soundtrack is also very aesthetic.
Wan Ziliang and Xia Wenxi, both in white robes, were leaning in the courtyard, looking at the paper kites under the blue sky, while the rangers danced and sang, and the female Taoist priests wrote poems.
After midnight, the strong man draws his sword and cuts off the red leaves all over the ground.
Wan Ziliang is bold and unruly, wild and unrestrained, this is the most heroic moment in his life. He is resolute and violent, persevering and restrained, with a handsome face and beard, and a majestic imposing manner.
Xia Wenxi, who is only 19 years old, showed her extraordinary acting skills in this film.
Her temperament is both rigid and soft, glamorous and sexy, and she seems to be born good at this kind of role.
After her excellent performance, the female Taoist priest who once wrote "It's easy to find a priceless treasure, but it's rare to have a lover" was resurrected together with all kinds of beautiful legends surrounding her.
The literary young women of the Tang Dynasty spanned thousands of years, openly claiming that "Yu Xuanji's poems and essays are ready to be taught", and seduced men all over the world. They used indulgent and sensual performance art to make a cry for freedom, but they hugged their maids in search of comfort in lonely nights.
However, in the end, jealousy and frustration made her draw a knife and stab the weak, and then unwillingly engulfed the ranger to destroy them together. This ending seems to be an indictment of the patriarchal society and an irony of feminism.
The whole film has dedicated high-level scenes, which are by no means inferior to Li Hanxiang, especially the two female sex scenes of Yu Xuanji and Luqiao are beautiful and fragrant, unmatched in Chinese films.
And in the end, Cui Bohou robbed the training ground with blood, and Ouyang Zhujian beheaded his relatives to reward his confidantes, which seemed quite full of ancient feelings of pride. .
