What did the movie "Blood in the Street" bring us?

The main line of story creation and the design of main characters in Blood Street should draw lessons from the movie Stabbing Horse, which was adapted by the great director Zhang Che according to one of the four great mysteries in Qing Dynasty. It is worth mentioning that John Woo has been following him for many years, and his name often appears in the column of assistant director of Shao Wuxia's films. His own concept of film creation was deeply influenced by director Zhang Che. If so, it is not an exaggeration to regard this film as a tribute to director Zhang Che.

The main line of the story is clear, and it is still a Zhang Che-style story of betrayal and revenge. John Woo tells the story of brotherly love, from mutation to division, to greed and cruelty to brothers and sisters, and finally revenge to complete the tragedy, all of which are the shadows of Zhang Che. Under the same big framework, John Woo added new contents and more diverse expressions. First of all, the story moved from the Qing Dynasty to the turmoil in Hong Kong in the 1960s and 1970s and the civil war in Vietnam, which made the description of personal grievances rise to the close relationship between the characters in the play and the turbulent years, as well as the hellish presentation of Hong Kong and Vietnam, which naturally reminded people of Hong Kong people's confusion and unpredictable fear and anxiety about/kloc-0' s return to China in 1997. For example, Tony Leung Chiu Wai picked up his girlfriend from work, the huge signboard on the street was messy, and the scuffle between the police and the demonstrators all implied that the protagonist who intended to stay out would eventually be helpless. In the marriage proposal drama, which should be warm and harmonious, Liang told his girlfriend that "there are many lovely places in the world", the seemingly open and stretched long lens is eye-catching, and there is a sharp factory behind it. Personal destiny is in the background of the times, which should be an ambition for John Woo's films to transcend simple personal love and hate or cherish heroes.