Chapter 18 Chapter Eighteen: Dewey Light in "Detective"

Yes, everyone knows that in the works directed by Johnnie To, one of the main lines is the system of Du Weipei (Johnnie To + Wei Jiahui). In fact, in Johnnie To's recent works, "Exile" (2006), "Sparrow" (2008) And (2009) can probably only be regarded as a variation interpretation of Du's signature, and it is quite lacklustre when it comes to new changes. On the other hand, in Du Wei’s system, the trend of best-selling comedies in the past has gradually declined (started from the prosperity of "Lonely Man and Widow" in 2000, experienced the peak of "Slimming Men and Women" in 2001 and "New Year's Fortune" in 2002, followed by In 2002, "I saw a ghost in my left eye" was an affectionate slant experiment, and in 2003 "A Hundred Years of Love" was completely exhausted, and finally announced in 2004 "Dragon and Phoenix Fight" that the road would not work, and the end of life), the only thing left is Yanzhi production to continue Continue to develop - and the latest masterpiece in this regard must be (2007).

As early as in "The Big Guy" (2003), the two had used Andy Lau's deformed body to show the powerlessness of a tragic hero who could not reverse his fate.The big guy played by Andy Lau is neither able to find his friend Xiaocui nor save the policewoman Li Fengyi (played by Cecilia Cheung). It seems to be a superfluous magic skill - of course, the big guy is originally a Buddhist, and in the movie, he can also be arranged to finally see through the two sides of the same thing. The lower body re-enters the empty door to make a conclusion, but obviously in Du Wei's speech system, this is just an expedient measure.The complexity of human nature will never stop here, and escaping into the quiet place of Buddhism is not a solution suitable for ordinary people.

I think that the loneliness and fate of supernatural beings has always been Wei Jiahui's motif; I even think that Du Weipei's speech system, Du Qifeng's role is mainly the control of the image and the manipulation of mobilization, but the core behind it is The proposition is still dominated by Wei Jiahui.This point can be compared with Wei Jiahui's latest work "Rebirth" (2009). On the surface, "Rebirth" is a work that explores the possibility of healing through writing, but the ultimate concern in the bones is still a full-scale counterattack against fate, and it reveals the open-minded attempt of man to conquer nature by declaring war on death.The grievances that are higher than the sky can be said to cover the whole novel. Tang Leer's (played by Yan Qing)'s novels have also become a variation of the ghost book. Of course, Wei Jiahui's personal projection is also ready to come out-in the world of texts, he is in charge of life and death. Po Meng, and the only space where you can be free from restraint is exactly here.

The irony is that Wei Jiahui has always understood where he can dominate everything, but he is not willing to stop here. The difficulties in the movie are just the tortuous reactions in the real world-he just wants to fight against the injustice of reality. Affirm the rationality of his seizure of power: mix the textual world with the real world, so that his power as God can be extended to the real world.Of course, we understand that it is the ultimate fantasy of the creators. In reality, the box office defeat of "Rebirth" also shows that the reality in the text is not the reality outside the cinema.However, I have to point out that Wei Jiahui's arrogance and paranoia in "Rebirth" is actually a result of experience, and it can be said to be the ultimate explosion with nowhere to vent.

Yes, then we have to go back and see how Wei Jiahui used Du Wei's packaging to explain the tragic story of the supernatural being.Chen Guibin (played by Liu Qingyun) in the movie can actually be regarded as the modern incarnation of the big guy. The former sees the ghosts in people's hearts, and it can also be regarded as a variation of the big guy seeing other people's karma (the past karma entanglement The human heart becomes our "ghost", but the "ghost" manifests itself in different forms and appearances).However, Du Weipei's development this time is to change the status and mentality of the two. Respect; Chen Guibin has never lost his love for the world. From the newspaper clippings in his home, it is known that even though he is no longer in the police force, he still has not let go of his "duty" of investigating cases. It is a pity that he is a neurotic in the eyes of others. The ghosts around are sad.Du Weipei is even more ruthless by arranging a bigger experiment: If Li Fengyi no longer trusts the big guy, and even betrays him, what will happen?

the light So this time they used the role of He Jiaan (played by An Zhijie) to bring Li Fengyi back to life, and arranged for him to go from completely trusting Chen Guibin to gradually embarking on a path of doubt and denial, so as to force Chen Guibin, who is obsessed with the world, to think about what can be done Since.On the superficial level of plot development, Chen Guibin made a choice to fight fate long before Tang Leer in "Rebirth".After foreseeing the fate of He Jiaan being robbed and killed by the seven ghosts (Liu Jinling, Lam Suet, Cheung Siu-fai, etc.) behind Gao Zhiwei (Lin Jiadong), he decided to intervene. (He Jiaan survived, while Lin Jiadong was shot and died, and the seven ghosts scattered), on the surface it seemed that he had overcome the fate of playing tricks.But when another new ghost (played by Gu Zulin) appears behind He Jiaan, the metaphor behind it is obvious: the dark side of human nature is the common sense of the world, and it will not be changed by anyone's own will.

I think the most symbolic way to point out the helpless predicament of the supernatural beings is the final battle in the factory building. Many people read the above scenes only from the image style, so it is easy to describe it as "Exile". A stylized refactoring of , or a further attempt at the mirror-reflection trial.I think the achievement of the last scene focused on the screenwriter's arrangement rather than the presentation of the video. In it, the location of the lost gun was reorganized through perspective, and the theme of confrontation with fate was explored step by step.

Of course, the above is only one of the possible understandings, but it already reflects Du Weipei's painstaking efforts in dealing with the proposition of supernatural beings.If the big guy was upset because Li Fengyi died because he failed to help, then Chen Guibin just provided a chance to make amends—he used self-sacrifice to change his fate, and rescued Li Fengyi who the big guy couldn't save ( This time it became He Jiaan), but in the end it led He Jiaan to embark on the road of becoming a demon, which is the ultimate irony that people are not as good as heaven.