Come Drink With Me Film Analysis
The 1966’s avant-garde film, Come Drink with Me moved towards Director King Hu’s contemporary aesthetic style, when paralleled to Wuxia Pans in that time. Hu was recognized to start a revolution with Come Drink with Me, establishing the “New School” aesthetics for Kung Fu. However dated special effects and editing would appear, to current viewers, the successful feature practically reinvented a standard for producers in the cinematic sphere. Hollywood action later popularized Hu’s editing and innovative techniques within martial arts pictures. Adaptations were applied to remodel the viewing experience of action cinema; firstly, enhancing the use of editing, camera movement, anamorphic lens and choreography.
Kung Fu became the spectacle in marital arts, which …show more content…
The main illustration being the Inn scene, Pei-Pei is surrounded by an intimidating group of males, they appear impossible to defeat. Unexpectedly, the attackers are shown to be pierced -in Close up- with Pei Pei’s dagger that evolves into a battle of swordplay with the opposing gang. Continuing the fight, a Long-shot reveals the Inn that presents the submission of the surrounding gang, concluding her ability to conquer a room full of physically able men. Editing merges the action not just symbolically- the dance as martial arts- but directly, by breaking down the movements into singular shots. As Pei Pei encounters her first fight in the Inn, a short sequence of movements to her overall defense is split into segments. Firstly, the throwing of alcohol in the man’s face, then retrieving her dagger, avoiding the blade thrown at her and then slashing the man. Through Hu’s editing style, the independent sequence of shots become one fluid movement. In particular Hu’s use of cinematography allows for the movements in fight sequences to appear graceful and
Kung Fu became the spectacle in marital arts, which …show more content…
The main illustration being the Inn scene, Pei-Pei is surrounded by an intimidating group of males, they appear impossible to defeat. Unexpectedly, the attackers are shown to be pierced -in Close up- with Pei Pei’s dagger that evolves into a battle of swordplay with the opposing gang. Continuing the fight, a Long-shot reveals the Inn that presents the submission of the surrounding gang, concluding her ability to conquer a room full of physically able men. Editing merges the action not just symbolically- the dance as martial arts- but directly, by breaking down the movements into singular shots. As Pei Pei encounters her first fight in the Inn, a short sequence of movements to her overall defense is split into segments. Firstly, the throwing of alcohol in the man’s face, then retrieving her dagger, avoiding the blade thrown at her and then slashing the man. Through Hu’s editing style, the independent sequence of shots become one fluid movement. In particular Hu’s use of cinematography allows for the movements in fight sequences to appear graceful and