As a mega-production in 2005, shouldering the super task of revitalizing the majesty of Hong Kong Cinema, the "Infernal Affairs" combination Andrew Lau Wai-Keung, Alan Mak Siu-Fai, Felix Chong Man-Keung, plus Japanese popular comics "Initial D" by Shigeno Shuichi, the new front-end with Jay Chou Chieh-Lun and Anne Suzuki, and Edison Chen Koon-Hei, Shawn Yue Man-Lok, Anthony Wong Chau-Sang, Chapman To Man-Chak, a demonstration of a Hong Kong style production on an international scale. Hong Kong Cinema have repeatedly tried to use the Hollywood production mode and packaging to expand beyond traditional markets, including Japan, South Korea, Europe and the United States, and hope to occupy a small piece of territory in the Asian and international markets. This ideal started from Bruce Lee and Jackie Chan, to Media Asia and Applause, and "Initial D" is the result of this long period of hard work and exploration, using Japanese comic and local technicians, in taking into account all aspects of calculation and ability, make the most appropriate arrangement, showing the vitality and compatibility of Hong Kong Cinema, and shoot an international production model that has reached international standards and still has the characteristics of Hong Kong Cinema.
Due to market considerations, most actors from Hong Kong and Taiwan are used to play Japanese characters in the comic, but in the film we see a group of characters who speak Cantonese and use Japanese names. Hong Kong audiences who have experienced many waves of dubbing Japanese dramas, there won't be much of a problem with this, their performance reminds me of the feeling of watching Japanese dramas on TV back then. If Andrew Lau deal with "Initial D" in a purely international production model, then there are many details in the film that need to be rearranged and straightened out. The current film is full of flaws and mistakes in the transition of the story and plot, but Andrew Lau used Hong Kong produced films to play "fast beat slow", and use a smooth and lively rhythm to affect the audience's emotions. In addition to the gags of Chapman To and Kenny Chung Chun-To in certain scenes, they lightly covered a lot of gross mistakes and omissions, which made the audience enjoyable to watch, do not care about these details. Although Chapman To's performance does not match the style of the film, his personal performance is reminiscent of Tsui Wai-Keung of "Infernal Affairs", however, his performance is full of personal charm and entertainment for the audience. Without his personal performance, the film needs to get the whole context right, and the story can't be so sloppy.
The film was originally directed by Tsui Hark and had been in preparation for a long time. On the eve of the filming, the dispute between Tsui Hark and the film company intensified. In the end, the film company had to temporarily hire Andrew Lau. It can be seen that Andrew Law, as a producer and director trained in Hong Kong production, is extremely capable of execution. In the face of a movie with more than 10 million HK dollars productions, in a very short preparatory period, in the face of the situation where everything is ready, he understands that in the production. In terms of time limit, Andrew Lau, Alan Mak and Felix Chong could not have any more time and space. They had to use their skilled shooting ability, integrate the combination of various staff and actors, coordinate this multinational team, and no longer care about the completeness of the story. What's the innovation? As long as the film is full of energy and fast-paced, and the script is vague and unintelligible, it uses the gags of individual charismatic actors and the wonderful racing scenes. All actors and departments can achieve the appropriate effect. Although there is no breakthrough or innovation in production and creation, it has made a good demonstration for this kind of Hong Kong style international film, enough to become a model of similar films.
By Kam Po LAM (original in Chinese)
Due to market considerations, most actors from Hong Kong and Taiwan are used to play Japanese characters in the comic, but in the film we see a group of characters who speak Cantonese and use Japanese names. Hong Kong audiences who have experienced many waves of dubbing Japanese dramas, there won't be much of a problem with this, their performance reminds me of the feeling of watching Japanese dramas on TV back then. If Andrew Lau deal with "Initial D" in a purely international production model, then there are many details in the film that need to be rearranged and straightened out. The current film is full of flaws and mistakes in the transition of the story and plot, but Andrew Lau used Hong Kong produced films to play "fast beat slow", and use a smooth and lively rhythm to affect the audience's emotions. In addition to the gags of Chapman To and Kenny Chung Chun-To in certain scenes, they lightly covered a lot of gross mistakes and omissions, which made the audience enjoyable to watch, do not care about these details. Although Chapman To's performance does not match the style of the film, his personal performance is reminiscent of Tsui Wai-Keung of "Infernal Affairs", however, his performance is full of personal charm and entertainment for the audience. Without his personal performance, the film needs to get the whole context right, and the story can't be so sloppy.
The film was originally directed by Tsui Hark and had been in preparation for a long time. On the eve of the filming, the dispute between Tsui Hark and the film company intensified. In the end, the film company had to temporarily hire Andrew Lau. It can be seen that Andrew Law, as a producer and director trained in Hong Kong production, is extremely capable of execution. In the face of a movie with more than 10 million HK dollars productions, in a very short preparatory period, in the face of the situation where everything is ready, he understands that in the production. In terms of time limit, Andrew Lau, Alan Mak and Felix Chong could not have any more time and space. They had to use their skilled shooting ability, integrate the combination of various staff and actors, coordinate this multinational team, and no longer care about the completeness of the story. What's the innovation? As long as the film is full of energy and fast-paced, and the script is vague and unintelligible, it uses the gags of individual charismatic actors and the wonderful racing scenes. All actors and departments can achieve the appropriate effect. Although there is no breakthrough or innovation in production and creation, it has made a good demonstration for this kind of Hong Kong style international film, enough to become a model of similar films.
By Kam Po LAM (original in Chinese)