Ma Jun ---- Donnie Yen played
Hong Kong Police Serious Crimes Unit Senior Inspector, bright character, perseverance in justice, martial arts skills; friends of righteousness, work and take responsibility, depending on teammates as if they were in the same place. The work has the responsibility, depending on the teammates as family like care, but the mother is quite cold, in fact, he does not know how to express the filial piety hidden in the bottom of the heart. Ma Jun has always held a grudge against Watson for sending him to work as an undercover agent, and feels that he has dragged him down; even though he was later betrayed by Watson, he has never wronged him, and his sense of responsibility is so heavy that he can't afford to do so.
Watson ---- played by Louis Koo
Hong Kong Police Serious Crimes Unit Inspector, and Ma Jun is a good friend and fellow soldier. A few years ago by Ma Jun recommended to turn undercover in the wild tiger side, a few years of immersion, has completely turned into a domineering gangster scoundrels. After the return of the defeated Wild Tiger to Hong Kong, Watson has been living in fear, and the pressure of the death of his family has pressed him to the point where he can't breathe. After being forced to betray Ma Jun, he regrets it and eventually atones for his crime with his death.
Wild Tiger ---- Lui Leung-wai plays
Hong Kong's biggest gangster, the character of good behavior brutality, extremely smart, very filial; act quickly, no matter how big or small said to do it, never procrastinate. Wild tiger and wild wolf two brothers brother brotherhood, a text and a martial arts in Hong Kong Street to play out the word head, Hong Kong as home, but by the black and white two sides of the attack, forcing him to leave Hong Kong, he vowed to take back the kingdom. He has always believed that money can change all people, but in the end, he has also given up his family love, which is the most important thing in his life, because of money.
Wild Wolf ---- played by Ni Xing (also known as Zou Zhaolong)
Wild Tiger's younger brother, martial arts courage and ruthless, a fist can be to the death. When he was young and in trouble, the wild tiger for him to endure eight cuts, since the beginning of the brother loyal to his brother, depending on his life as his own life, is the wild tiger forever protector. Wild Wolf is also filial to his mother and will do anything to make her happy. With a class of killers directly under his orders action team, each of which is violent and cruel, making all the gangsters in Hong Kong Street scared
After completing the Legend of the Wolf in Hong Kong's secluded, idyllic countryside, Donnie Yen went on to shoot his next movie, Kill Kill Dance, which takes place on the bustling, 24-hour streets of the city itself. While his first film, Legend of the Wolf, was more kung-fu oriented, Dance Dance Kill Dance featured a lot of imaginative gunfighting scenes on film stock, accompanied by Donnie Yen's signature flying kicks and bold editing. The film's soundtrack was composed by renowned Japanese composer Yukie Nishimura. Yukie Nishimura volunteered to work on the film after watching Donnie Yen's first film, Legend of the Wolf. Both films portray a romance on the edge of the line between life and death, and both demonstrate the ease with which one of Hong Kong's most passionate young directors utilizes his own unique perspective. In Killing and Dancing, Donnie Yen plays Cat, a killer whose love is far away and unattainable through the barriers of the world. The filming cost of this movie is less than 500,000 dollars, and the shooting environment is extremely harsh. Halfway through filming, the Asian financial turmoil swept through Hong Kong, and many of Donnie Yen's sources of funding were interrupted. However, in the midst of such a difficult shoot, Donnie Yen still managed to make this work full of thrills through a series of hyper-kinetic and hyper-active action scenes. The movie is also characterized by gorgeous cinematography and romantic lyricism. The film was not only well received by Hong Kong critics, but also nominated for the Best Young Director Award at the 1998 Yubari Fantastic Film Festival in Hokkaido, Japan. In addition, Killing and Dancing has been selected for screening at many international film festivals. Legend of the Wolf, Killing and Dancing, his previous television work, and his action design have all earned Donnie Yen the reputation of being a focused filmmaker with a clear vision and the ability to bring it to life on screen. Not only that, but he is also able to work under intense pressure in demanding environments; utilizing limited funds to produce quality work. Donnie Yen never uses a storyboard; like John Woo, the movie is imprinted in his mind. As a good observer, Donnie Yen says he can get into the scene as soon as he arrives on set, deciding where to shoot which shot, what angle, and how the actors should move. And Donnie Yen himself, with his boundless passion for his work, is moving forward. Synopsis Cat is a killer with no tomorrow. He wears sunglasses in rain or shine, calls the radio station to confide in them, looks at the angel in the window every night, and dances alone in his room at night. Cat thinks that Carrie is the girlfriend of his rival Wesley and takes her hostage to tell her the number of the night, and in the theater there is a lot of gunfire, but to his surprise Carrie is the policewoman who has been chasing him all along. It turns out that Cat and Wesley was originally the United States of America's criminal police, it is not expected that Wesley betrayed Cat, so that he escaped into the dark world ...... Movie Reviews
In this movie, Donnie Yen changed the image of the old hot-blooded young man into a cold and sentimental man, in order to love, he lost the qualification to be a killer, and ended in tragedy. qualification, ending in tragedy.
Killing and dancing as an urban gunfight movie, the film is rightfully full of thrilling gunfight scenes, Donnie Yen-style action, smooth, power seduction and music rhythms combined, as a ballet of martial arts. In addition to the action and gunfights, this movie vividly depicts a sad and hopeless love, man and woman, two people who are in opposition to each other, fall in love in the fateful arrangement, and it seems to be destined that this love has never been blessed by God from the beginning. The movie's interpretation of Hong Kong-style action is so unusual that it seems more like a moody accompaniment to the story, which ELLEY aptly compares to a killer's Fantasia.
And Donnie Yen's preference for Chopard also emerges in this dreamlike, melancholy meditation on love, life and death. The storyline for the audience who have seen John Woo's Bloodshed may be déjà vu, Bloodshed is Donnie Yen quite a respected film, a heavy love and heavy intention of the killer story. The ending of Killing and Dancing is somewhat similar to Bloodshed. However, there is a different style. Donnie Yen plays a cold killer, which is depicted by the director through the complex and meticulous lighting techniques of the frozen image, he believes that no one is innocent, the angel of his dreams, the policewoman carrie, the two in the breeze of the morning encounter in the streets of the bustling city, and then began to unfold the emotional picture.
Donnie Yen set a high challenge for himself when shooting the action scenes in the film, repeatedly using the powerful orchestral music as the soundtrack for the fights in the film, thus reflecting the magnitude of the action scenes and their chaotic and complicated nature. From the opening scene where Cat single-handedly takes out a group of fierce criminals on the top floor of Times Square to the end of the movie where Cat and Wesley Wong duel in an abandoned glass factory, where Cat uses fluorescent light tubes and ceiling fans as two bizarre weapons to complete his revenge, Donnie Yen's action gives the audience the highest level of visual enjoyment.
The most compelling and complex part of the movie is when Wing Kwong's killer finds Cat's apartment, putting Cat and Carrie's lives in extreme danger. Here, Donnie Yen uses the changing light, the fast switching of images, the rapid transfer of the camera between several protagonists, the intense sound of gunfire, the dispersion of smoke, and the sudden flashes of details between the tense story of the still-life shots, to create an emotionally delicate and torn twisting and swirling imagery, as if seeing the world from a roller coaster. In fact, the essence is still Donnie Yen's traditional action design, but the action in the past in the film's delicate psychological background, dark mood background and strong rhythmic contrast, flow out of a different kind of eye-catching flame.
The use of unique camera techniques is an important element of the film, and in a sense the camera becomes a key player in the movie. Donnie Yen chose a strong personal style of artistic light and shadow colors: a deep smoky blue, with a dazzling green and bright red to establish and continue the tone of the film, through the interactive shots and panning, close-ups, slow-motion, flashbacks and fades of the slightly colliding sense of editing and editing, Donnie Yen succeeded in deepening the film's dramatic tension and brought the audience a dance of light and shadow by swaying and floating around on the screen. The visual contrast and impact of the movie is strong. Other acclaimed art filmmakers have made similar works, but Donnie's specialty is his skillful use of the camera to reflect in detail the intense conflict embodied in the image of Cat.
On the one hand, Cat's bitter memories of being betrayed by his best friend lead him to be cold, cynical and aggressive, while on the other hand, Cat is actually a delicate and richly emotional character, with a fragile and vulnerable nature that hides his lightness of being. Cat, who has been teased by God, buries all these in the deepest part of his heart, and wraps his heart in the armor of hatred, covering it under his handsome and handsome face, which is as cold as ice. This kind of distinctive and significant conflict, together with Donnie Yen's alternative interpretation, deepens the emotional ups and downs of the story, and makes the characters' images even more clear and convex.
The movie's literate Chinese title should be the best expression of the film's directorial approach - kill to kill, dance to dance. When the intense gun battle and action scenes fade out of the camera, the melodious lyrical time quietly arrived, brilliant as a picture, but beautiful as poetry - Cat and his dream partner carrie in the dawn of the rooftop dance, easy to lie on the rooftop stone railing of the close-up of Cat, close-up and distant switching, carrie's long hair in the wind, all in the rendering the lightness of the dance, the splendor of the dance, the oblivion of the dance. And in Cat's apartment, a close-up of the quietly rotating ceiling fan seems to speculate whether this nameless romance will be short-lived or forever.
The background music uses a lot of piano, Shen Jing Siwei with some kind of fervent hope, for the original has been enough ups and downs of the plot decorated with melodic underpinning, as if everything is like a line board like a song of the years of legend. Kill Kill Dance established a new meaning of action movie concept, in this concept from the previous traditional meaning of action movie expectations and anticipation, so as to win the audience on another level.