<p>香港导演卓韵芝如今以执导《情剑山河》等经典武侠片而闻名。\n 然而，最近他的一些较为冷门的作品再次广泛流传。以下是我们对他几部鲜为人知的武侠珍品的回顾。\n《夺金大决斗》（1971）\n 在 1970 年加入邵氏兄弟之前，卓韵芝只有一部武侠片《冷刀》可供参考。他之前通过执导约 70 部戏剧和爱情片建立了自己的声誉，其中许多作品都取得了商业成功和评论界的赞誉。\n\n 然而，他从制片人邵逸夫那里接到的第一个任务是完成这部星光熠熠的武侠片《夺金大决斗》，该片在拍摄过程中被顶级导演罗维放弃。\n 卓韵芝后来的作品在这一类型中独树一帜。他常常改编台湾小说家古龙的文学作品，建立了以角色驱动的武侠片而闻名的声誉，这些作品氛围浓厚却不至于过于幻想。\n 虽然这部早期的武侠片缺乏他后期作品的风格特征，但制作精良，展现了卓韵芝高效的叙事能力。\n 像大多数武侠片一样，它有一系列的主角和反派。然而，卓韵芝保持了叙事的简洁，排除了任何可能分散观众注意力的内容。\n《夺金大决斗》只有一个主题：偷金。两位持剑姐妹（凌波和王平）及其丈夫抢劫了一家保安局，然后躲在一起等待风头过去。\n 但四名盗贼被贪婪所淹没，婚姻和家庭关系因此崩溃。\n\n 邵氏超级明星凌波在片中大放异彩，饰演一位以隐秘武器闻名的臭名昭著的盗贼。她在影片中杀戮不断，毫不留情地追逐战利品，杀死盟友和敌人。\n 尽管以黄梅调音乐片而闻名，凌波自 1960 年代初便开始出现在武侠片中，这一点显而易见——她在战斗中沉着冷静，动作精准流畅。\n 虽然这一时期的电影通常强调儒家价值观、荣誉和兄弟情谊，但《夺金大决斗》中的角色却缺乏这些美德；他们冷酷、贪婪，完全被财富的欲望驱动。有些人说这是卓韵芝对香港日益物质化社会的评论。\n 在《导演卓韵芝》一书中，卓韵芝表示，邵逸夫试图利用这部电影作为 “武器” 来击败李小龙的《唐山大兄》在票房上的表现，但这一策略失败了。\n《江湖血雨》（1977）\n 卓韵芝的武侠片可能是香港电影与魔幻现实主义这一文学流派最接近的作品，在这个流派中，现实生活与幻想世界无缝互动。\n《江湖血雨》改编自古龙的小说，正是这一点的典范，既有对谋杀者的真实追捕，又有巧妙融入情节的幻影序列。\n\n\n 它本质上是一部侦探故事，邵氏传奇人物狄龙饰演一位英俊的流氓，试图追查三位武侠门派首领的杀手。他的动机不是追求正义，而是为了避免自己被指责为谋杀者。\n 情节通常复杂，但卓韵芝相对忠实于原著，将其提炼成一个连贯的叙事。\n 影片充满了迷人的怪异元素，包括一群亚瑟王式的水女神、一位 honorable 的赏金猎人、一位挥舞武士刀的僧侣和一些凶残的佛教修女。\n\n 由著名的唐佳编排的剑斗场面快速而激烈，但华丽的布景提升了影片的整体效果。\n 值得注意的是神水女神的宫殿——一个明亮的水下背景，永远弥漫着烟雾和干冰。影片的血腥结局在宫殿中上演，设有一个如画的岩石池和秋千，创造出既美丽又奇异的场景。\n 卓韵芝在五年前执导的开创性情色武侠片《中国妓女的亲密告白》中，融入了女同性恋的潜台词和一个性别颠覆的反派——比徐克的《东方不败》早了 15 年。\n《玉虎》（1977）\n《玉虎》是对武侠世界的解构——被称为江湖——卓韵芝描绘的这个世界是由野心、骄傲和复仇驱动的，而不是它所假装宣扬的正义儒家价值观。\n\n\n 在这个世界中生存，必须无情；影片暗示，个人只是更大计划中的 “棋子”。只有死者——在一个场景中被描绘为一个替代社会——才遵循武侠的真正价值观。\n“在我的古龙电影中，我最喜欢《玉虎》，” 卓韵芝在《导演卓韵芝》一书中说道。“[英雄] 成功复仇，但他杀了那么多人，这真的能算是成功的努力吗？”\n 这部电影更像是一部间谍惊悚片，而非侦探故事，几乎没有角色是他们所表现的样子。情节引人入胜，许多可信的转折以惊人的速度展开。\n 狄龙饰演一位善良的门派首领的儿子，他被一个邪恶的对手家族谋杀。他化名复仇，但不断被身边的人欺骗。\n“武侠世界的事务确实令人恐惧，” 影片中的角色说道。“今天你可能是对的，明天就可能是错的。”\n\n 动作场面虽然可圈可点，但偶尔显得舞台化。使影片值得一看的，是角色的复杂性，主角比典型武侠片中的角色更为立体。\n 狄龙饰演一位容易被捕的英雄，而郑则仕在反派角色中展现了他的魅力。硬汉罗烈则在一位热情的门派首领中表现得夸张，而剑斗明星施思则以华丽的形象展示了她的戏剧范围和武术技能。\n 在这一系列关于香港电影最佳作品的常规特辑中，我们回顾经典影片的遗产，重新评估其伟大明星的职业生涯，并重温这一受人喜爱的行业的一些鲜为人知的方面。\n 想要更多类似的文章吗？请在 Facebook 上关注 SCMP Film。</p>

<p>香港电影导演楚原以其神奇的武侠经典而闻名。最近，他的一些较为罕见的作品重新发行。值得注意的电影包括《夺金大决斗》、《江湖恩怨》和《玉虎》。这些影片展示了楚原独特的叙事风格，将现实与幻想相结合，常常描绘由贪婪和野心驱动的复杂角色。楚原的作品对物质主义和武侠世界的阴暗面进行了评论</p>

<p>Hong Kong filmmaker Chor Yuen is known today for directing magical martial arts classics like The Sentimental Swordsman.\nRecently, however, a number of his rarer titles were made widely available again. Below we look at a few of his lesser-known wuxia gems.\nDuel for Gold (1971)\nChor had only one martial arts film to his credit, Cold Blade, before joining Shaw Brothers in 1970. He had previously established himself by directing around 70 dramas and romances, many of which achieved both commercial success and critical acclaim.\n\nHowever, his first assignment from studio boss Run Run Shaw was to complete the star-studded wuxia Duel for Gold, which had been abandoned by top director Lo Wei during filming.\nChor’s later contributions to the genre were distinctive. Often adapting the literary works of Taiwanese novelist Gu Long, he established a reputation for intelligent, character-driven wuxia films that were atmospheric without being too fantastical.\nWhile this early wuxia lacks the stylistic hallmarks of his later works, it is expertly crafted and shows Chor’s storytelling efficiency.\nLike most martial arts films, it features an array of protagonists and antagonists. Yet Chor keeps the narrative lean, excluding anything that might divert the viewer’s attention from the central plot.\nDuel for Gold is about one thing only: stealing gold. Two sword-wielding sisters (Ivy Ling Po and Wang Ping) and their husbands rob a security bureau, and then hide out together while they wait for the heat to die down.\nBut the four thieves become overwhelmed by greed, and their marriages and family bonds crumble as a result.\n\nShaw superstar Ling Po steals the show, playing a notorious thief known for her skill with hidden weapons. She cuts a bloody swathe through the film, killing allies and enemies alike in her merciless pursuit of the loot.\nAlthough best known for her huangmei diao musical films, Ling Po had been appearing in martial arts pictures since the early 1960s, and it shows – she is composed and capable in combat, performing her moves with effortless precision.\nWhile films of this period usually emphasised Confucian values, honour and brotherhood, the characters in Duel for Gold lack these virtues; they are ruthless, greedy and driven solely by the desire for wealth. Some have said that this was Chor’s comment on Hong Kong’s increasingly materialist society.\nIn the book Director Chor Yuen, Chor says that Run Run Shaw tried to use the film as a “weapon” to beat Bruce Lee’s The Big Boss at the box office. The tactic failed.\nClans of Intrigue (1977)\nChor’s wuxia films may be the closest that Hong Kong cinema has ever come to magic realism, a literary genre in which real life and fantasy worlds seamlessly interact.\nClans of Intrigue, based on a Gu Long novel, exemplifies this, featuring both a grounded hunt for a murderer and phantasmagorical sequences that are expertly integrated into the plot.\n\n\nIt is a detective story at heart, with Shaw Brothers legend Ti Lung playing a dashing rogue trying to track down the killer of three martial arts clan leaders. His motivation is not justice, but to avoid getting blamed for the murders himself.\nThe plot is typically convoluted, but Chor, who remains relatively faithful to the source material, distils it into a coherent narrative.\nThe film is laden with appealing eccentricities, including a group of Arthurian-style water maidens, an honourable bounty hunter, a samurai-sword-wielding monk and some murderous Buddhist nuns.\n\nThe swordfighting scenes, choreographed by the esteemed Tong Kai, are fast and furious, but it is the glorious sets that elevate the film.\nOf note is the Divine Water Maidens’ Palace – a bright, aquatic backdrop permanently suffused with smoke and dry ice. The film’s bloody finale, staged in the palace, features a picturesque rock pool and a swing, creating a scene that is as beautiful as it is bizarre.\nChor, who helmed the trendsetting erotic wuxia Intimate Confessions of a Chinese Courtesan five years earlier, incorporates lesbian subtext and a gender-bending villain here – predating Tsui Hark’s famed take on Asia the Invincible by 15 years.\nJade Tiger (1977)\nJade Tiger is a deconstruction of the martial arts world – known as jianghu – which Chor depicts as driven by ambition, pride and vengeance, rather than the righteous Confucian values it pretends to espouse.\n\n\nTo survive in this world, one must be ruthless; individuals are merely “pawns” in the greater scheme of things, the film suggests. Only the dead – portrayed in one scene as an alternative society – adhere to the true values of the martial artist.\n“Out of my Gu Long films, I liked Jade Tiger the best,” Chor said in the book Director Chor Yuen. “[The hero] avenged himself successfully, but he killed so many people doing it, can it really be considered a successful effort?”\nThe film is more spy thriller than detective story, where few characters are who they appear to be. The intrigue is gripping, with numerous credible twists unfolding at breakneck pace.\nTi Lung plays the son of a benign clan leader who is murdered by an evil rival family. He goes undercover to exact revenge but is continually deceived by people close to him.\n“The affairs of the martial arts world are terrifying indeed,” says the character in the film. “You can be right today and wrong tomorrow.”\n\nThe action sequences are serviceable, though occasionally stagy. It is the characters that make the film watchable, as the leads are more complex than those in a typical wuxia.\nTi Lung portrays a fallible hero prone to capture, while Derek Yee Tung-sing’s charisma shines in a villainous role.\nTough guy Lo Lieh delivers an over-the-top performance as an effusive clan leader, while swordfighting star Shih Szu, styled to look glamorous rather than rugged, showcases her dramatic range alongside her martial arts skills.\nIn this regular feature series on the best of Hong Kong cinema, we examine the legacy of classic films, re-evaluate the careers of its greatest stars and revisit some of the lesser-known aspects of the beloved industry.\nWant more articles like this? Follow SCMP Film on Facebook.\n</p>
<div class="lb-trans"><p>香港导演卓韵芝如今以执导《情剑山河》等经典武侠片而闻名。\n 然而，最近他的一些较为冷门的作品再次广泛流传。以下是我们对他几部鲜为人知的武侠珍品的回顾。\n《夺金大决斗》（1971）\n 在 1970 年加入邵氏兄弟之前，卓韵芝只有一部武侠片《冷刀》可供参考。他之前通过执导约 70 部戏剧和爱情片建立了自己的声誉，其中许多作品都取得了商业成功和评论界的赞誉。\n\n 然而，他从制片人邵逸夫那里接到的第一个任务是完成这部星光熠熠的武侠片《夺金大决斗》，该片在拍摄过程中被顶级导演罗维放弃。\n 卓韵芝后来的作品在这一类型中独树一帜。他常常改编台湾小说家古龙的文学作品，建立了以角色驱动的武侠片而闻名的声誉，这些作品氛围浓厚却不至于过于幻想。\n 虽然这部早期的武侠片缺乏他后期作品的风格特征，但制作精良，展现了卓韵芝高效的叙事能力。\n 像大多数武侠片一样，它有一系列的主角和反派。然而，卓韵芝保持了叙事的简洁，排除了任何可能分散观众注意力的内容。\n《夺金大决斗》只有一个主题：偷金。两位持剑姐妹（凌波和王平）及其丈夫抢劫了一家保安局，然后躲在一起等待风头过去。\n 但四名盗贼被贪婪所淹没，婚姻和家庭关系因此崩溃。\n\n 邵氏超级明星凌波在片中大放异彩，饰演一位以隐秘武器闻名的臭名昭著的盗贼。她在影片中杀戮不断，毫不留情地追逐战利品，杀死盟友和敌人。\n 尽管以黄梅调音乐片而闻名，凌波自 1960 年代初便开始出现在武侠片中，这一点显而易见——她在战斗中沉着冷静，动作精准流畅。\n 虽然这一时期的电影通常强调儒家价值观、荣誉和兄弟情谊，但《夺金大决斗》中的角色却缺乏这些美德；他们冷酷、贪婪，完全被财富的欲望驱动。有些人说这是卓韵芝对香港日益物质化社会的评论。\n 在《导演卓韵芝》一书中，卓韵芝表示，邵逸夫试图利用这部电影作为 “武器” 来击败李小龙的《唐山大兄》在票房上的表现，但这一策略失败了。\n《江湖血雨》（1977）\n 卓韵芝的武侠片可能是香港电影与魔幻现实主义这一文学流派最接近的作品，在这个流派中，现实生活与幻想世界无缝互动。\n《江湖血雨》改编自古龙的小说，正是这一点的典范，既有对谋杀者的真实追捕，又有巧妙融入情节的幻影序列。\n\n\n 它本质上是一部侦探故事，邵氏传奇人物狄龙饰演一位英俊的流氓，试图追查三位武侠门派首领的杀手。他的动机不是追求正义，而是为了避免自己被指责为谋杀者。\n 情节通常复杂，但卓韵芝相对忠实于原著，将其提炼成一个连贯的叙事。\n 影片充满了迷人的怪异元素，包括一群亚瑟王式的水女神、一位 honorable 的赏金猎人、一位挥舞武士刀的僧侣和一些凶残的佛教修女。\n\n 由著名的唐佳编排的剑斗场面快速而激烈，但华丽的布景提升了影片的整体效果。\n 值得注意的是神水女神的宫殿——一个明亮的水下背景，永远弥漫着烟雾和干冰。影片的血腥结局在宫殿中上演，设有一个如画的岩石池和秋千，创造出既美丽又奇异的场景。\n 卓韵芝在五年前执导的开创性情色武侠片《中国妓女的亲密告白》中，融入了女同性恋的潜台词和一个性别颠覆的反派——比徐克的《东方不败》早了 15 年。\n《玉虎》（1977）\n《玉虎》是对武侠世界的解构——被称为江湖——卓韵芝描绘的这个世界是由野心、骄傲和复仇驱动的，而不是它所假装宣扬的正义儒家价值观。\n\n\n 在这个世界中生存，必须无情；影片暗示，个人只是更大计划中的 “棋子”。只有死者——在一个场景中被描绘为一个替代社会——才遵循武侠的真正价值观。\n“在我的古龙电影中，我最喜欢《玉虎》，” 卓韵芝在《导演卓韵芝》一书中说道。“[英雄] 成功复仇，但他杀了那么多人，这真的能算是成功的努力吗？”\n 这部电影更像是一部间谍惊悚片，而非侦探故事，几乎没有角色是他们所表现的样子。情节引人入胜，许多可信的转折以惊人的速度展开。\n 狄龙饰演一位善良的门派首领的儿子，他被一个邪恶的对手家族谋杀。他化名复仇，但不断被身边的人欺骗。\n“武侠世界的事务确实令人恐惧，” 影片中的角色说道。“今天你可能是对的，明天就可能是错的。”\n\n 动作场面虽然可圈可点，但偶尔显得舞台化。使影片值得一看的，是角色的复杂性，主角比典型武侠片中的角色更为立体。\n 狄龙饰演一位容易被捕的英雄，而郑则仕在反派角色中展现了他的魅力。硬汉罗烈则在一位热情的门派首领中表现得夸张，而剑斗明星施思则以华丽的形象展示了她的戏剧范围和武术技能。\n 在这一系列关于香港电影最佳作品的常规特辑中，我们回顾经典影片的遗产，重新评估其伟大明星的职业生涯，并重温这一受人喜爱的行业的一些鲜为人知的方面。\n 想要更多类似的文章吗？请在 Facebook 上关注 SCMP Film。</p>
</div>

楚原被遗忘的香港武侠电影如何将魔幻现实主义与复杂的英雄形象相结合