For the past few years, Li Changsheng has been supporting Hong Kong New Wave films.
He doesn't like that Hong Kong movies are just gangster movies or romantic movies.
The world of Hong Kong films he wants to see should be colorful and tolerant of all genres.
It shouldn't be like those years that are very close to 2022. It turned out to be all gangster movies, which are really meaningless.
Even Zhang Jiahui, Liu Qingyun, and Gu Tianle were the ones I always saw in those days, and I got tired of seeing them.
So Li Changsheng has been supporting the attempts of some directors to seek innovation and change 06.
Anyway, he also has a lot of money, so it doesn't matter who he invests in, even if he loses a little.
The director he invested the most in was Tsui Hark.
It turns out that Tsui Hark, the most commercially successful in that time and space, already has his own film studio and special effects production company with the support of Princess Jin.
Mark Dangxiong and Zhang Jianting have also established themselves, gradually becoming the backbone of the golden age of Hong Kong movies.
Xu Anhua seeks space between art and commerce with her feminine acuity and tenacity, and tirelessly absorbs nutrients from literary works. After that, she has been focusing on the documentary humanistic style for more than ten years.
Beast director Huang Zhiqiang insisted on the theme of violent police and robbers in a realistic style, struggled in compromise, and went all the way to Hollywood, with ups and downs in his career.
In addition to the limited film contracts of New Art City and Debao, Liang Puzhi continued to shoot commercials and documentaries until the early 1990s, and also moved to Britain and the United States.
Yan Hao filmed slowly and at his own pace, discussing the fate of human nature and depicting the rural complex.
Tan Jiaming has not given up on the front line while teaching, but his focus has gradually shifted from directing to his favorite editing.
Zhang Yuming, on the other hand, failed repeatedly on the road to commercialization, and gradually fell silent. She had to switch to commercials, and missed the later upsurge of police and gangster films.
The injection of these fresh blood has enabled Xiangjiang Films to let go of the old and absorb the new, and to regain vitality, which also impacted the original market structure. The decline of Shaw Brothers, the rise of Xinyicheng and Debao all have a mutual cause and effect with the New Wave.
There are also some people who stick to their own opinions and drift away from the public vision.
Fang Yuping, who has won three Academy Awards for best director, clearly resists commercial films and returns to TV stations to insist on non-mainstream creative lines.
The sages refrained from their edge and left the film industry one after another. Their immature works, which were determined to change and even shocked the world, illuminated the path of later generations like sparks, and then burned to ashes. Lost in history.
In 1985, Hou Xiaoxian filmed "My Childhood Memories" in Baodao. After seeing it, Xu Anhua sighed: "We are finished."
At that time, she didn't realize that on the other hand, Taiwan's local commercial films will soon be wiped out, and art films will also fall into a deadlock of self-pity. 417
Huang Zhan later said: There are only two people in Xiangjiang who really love movies, one is Tsui Hark and the other is Xu Anhua. Perhaps it is precisely because of their love that they stick to it all their lives and become the most accomplished directors of the new wave.
The New Wave ended its mission in 1985 and withdrew from the stage of history.
One of the signs is that Century Pictures stopped producing due to the financial crisis of the parent company, and Liu Zhenwei, the head of the film, went to the mainland to do business.
The second sign is that after the New Wave won the Golden Image Award for the best film for four consecutive years, this honor was awarded to a mainstream commercial film for the first time in 1985 --- "Police Story". ten years. .
