The most popular film and television work in Jordan chan at present is not the online drama "Anti-Black", but a variety show that takes children to the countryside. For most people, the favorite scene at present is to watch Brother Pheasant play the role of Big Wolf.
"Pheasant Brother" is a classic character created by Jordan chan in Hong Kong’s "Young and Dangerous" series films in the late 1990s. Times have changed, and the theme and style of the once-popular gang film and television works are also different.
Conventional changeable stories usually choose to write low and go high, greet the ending after the climax, gradually escalate the difficulties, gradually increase the task coefficient, defeat the biggest behind-the-scenes hand, open a dark page, the hero gets the laurel, may be sacrificed, or may be reunited after twists and turns. However, Anti-Black tells the story in a romantic style.
The opening is the big scene of the gang electing a new speaker. After only one episode, all the bosses of the gang "Hexingsheng", which has a century-old foundation in Hong Kong, have a turning point in their careers because of the existence of police undercover Phoenix Brother (Jordan chan). The pyramid-shaped organization structure of Xinghesheng was pinched off by the police, and it was leaderless, so it became fragmented.
Brother Phoenix, with red hair, dyed his hair back to black, changed his real name to "Chen Fengxiang" and returned to the police force. From 1986, he completed the big business of one pot to 1994, he was transferred to the anti-gang unit by his boss and worked as a civilian for eight years. These eight years, just like the eight years of being a Phoenix elder brother and thriving undercover, were suppressed by Anti-Black. Both the climax and the trough can’t be pressed, and the waves in calm have become the main theme of Anti-Black.
Jordan chan plays Chen Fengxiang.
After the general election of gangs in the summer of 1986, the prosperous territory of the older generation was eroded by other underground forces. On the eve of Hong Kong’s reunification, foreign forces, represented by "George", infiltrated into gang organizations and secretly manipulated various forces, becoming the biggest beneficiaries behind the scenes.
George’s first puppet was Zhang Zhiqiang (Zhang Jiansheng), nicknamed "Arrogant". This younger brother, who was trained by Phoenix in undercover period, was suspected to be an "inside ghost" of the police sneaking into the gang organization during the general election. After Phoenix revealed his true identity, he suffered a double blow mentally, his faith collapsed, his temperament changed greatly, and he became a new generation of gang leaders who were brave and ruthless and regarded Jianghu rules as nothing.
Zhang Jiansheng plays the role of arrogance.
The role of arrogance is arrogant and arrogant, and its modeling and performance are full of evil spirits. It seems to be a typical villain in old Hong Kong films. I thought that he could be arrogant for a long time, practice the declaration of "putting dragons and phoenixes" in his lines, and create a lively and dramatic scene of the opera team. However, it is not in Anti-Black.
Shortly after the opening of Jing Wong’s film Chasing Dragons, there appeared a "dragon and phoenix" in which the police intervened in the gang’s conflagration, while the "dragon and phoenix" in Anti-Gang was the first to see the dragon, and several candidates who appeared after "arrogance" also declared that they wanted to "put on a dragon and phoenix", but the dragon and phoenix were either reduced to a small size or killed in the bud by police officer Chen, who was wise, alert and well versed in the rules of underground forces.
Chen Fengxiang, who represents the forces of justice, has been dancing for nine days, and enter the dragon in the Jianghu is just a twisted local strongman in front of the sword of justice. Arrogance was quickly settled by Chen Fengxiang’s wisdom. Five Hong Kong policemen took 30 bullets and solved a potential bloody conflict without firing a shot. Social peace and order were maintained, and evil fled hastily under the dazzling light of justice.
In the follow-up story, "Anti-Black" allocates more and more scenes to private space, and Chen Fengxiang’s personal life is equally divided with the road of continuing to find people with prosperity. The plot is relatively dull, and Andy Lau’s songs are interspersed with more and more times. Anti-Gangster returns from Hong Kong gangster narrative to Hong Kong drama narrative.
Wu Zhixiong plays brother B.
Most of the actors in Anti-Gangster are familiar faces in Hong Kong films with gangster themes of one era, and some of them were once all-powerful figures in the gang. For example, in the play, Wu Zhixiong, one of the prosperous second-generation leaders, is played by Wu Zhixiong himself. His character experiences are similar, and his nicknames are all Wu Zhixiong’s nickname "Big Brother B" in the Jianghu.
Wu Zhixiong also played a character who used this nickname in the series of Young and Dangerous Men. Unlike the image in the series of Young and Dangerous Men, "Big Brother B" in "Anti-Gangster" looks more like a kind citizen in action, and even uses the same background of the official propaganda film to tell the audience to read more and choose friends carefully. The setting of this role is so similar to the actor himself that it is difficult for the audience to tell whether what they see on the monitor is a character who speaks lines or an old and dangerous man who has retired from the Jianghu for many years.
Li Canchen plays Huang Zhian.
Anti-Gangster has collected four actors in the gangster series. Boon Chung Sung, the director of this drama (and the actor of the character "Prince Chicken"), and Jordan chan of first hero once played the young pheasant and the adult pheasant in the gangster in the Jianghu, and Li Canchen, who plays the male No.3 Huang Zhian, once played the role in atrix, a teenager of gangster. Four pheasants arrived in Anti-Black, some became Phoenix, some became sir, some continued to wander in the rivers and lakes, and some were swallowed by more vicious forces. The rivers and lakes may still be the same rivers and lakes, but Brother Pheasant is no longer a pheasant in the 1990s.
Ng Man Tat plays Uncle Lard.
If we really practice the shooting mode of Hong Kong dramas in the 1990s, Anti-Gangster may not choose the current narrative mode. It’s not that Hong Kong dramas don’t show dying heroes, but the usual focus is on reloading after being lonely.
In order to cater to the choice of time nodes, Anti-Mafia sacrifices the prime time of characterization. Chen Fengxiang’s undercover and prosperous mental journey is the favorite part of the drama law and the part of heroic achievement. Besides being an act, there is also a mental journey covered with thorns. However, after returning to the police force, he was integrated into the collective, and his opponents no longer had the ability to make waves. With the change of social environment, the mastermind of the plot no longer needed small people to complete the impossible task: the opponent of the protagonist became weaker and weaker, and the older generation who used to make waves became older and older. In more and more life plots, "Anti-Mafia" quietly completed the variation of the theme, from the theme involving black.
Although the stories of gang members account for a large proportion in the whole play, their stories often provide all kinds of tragic lessons. People who join gangs for various reasons, especially those young people who are not hopeless, eventually do not become "big brothers" like the young people in the movies of "Young and Dangerous", but blood splashes on the streets, losing everything and losing the direction when they set off. These educational plots, together with the subtle theme of the whole drama, constitute the central narrative of Anti-Gangster-absolute support and absolute trust in the organization.
"Anti-triad" is still one of the most important tasks of the police force in Hong Kong, which involves not only cracking down on underworld gangs, but also dealing with drugs, guns and other criminal activities that infringe on personal rights and property rights. In recent years, many Hong Kong dramas have chosen this police force as the main body of performance. In addition to continuing to pay attention to organizational activities, Anti-Gangster is more about calling back a soul through the re-enactment of the expression techniques of the old Hong Kong drama. This call is also reflected in the recent Hong Kong movies. However, limited by narrative, it has a flavor, but it is not rich enough and exciting enough. It may be regarded as a test of water, but in the end it may be difficult to leave a aftertaste.