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"Evil Doesn't Suppress Righteousness" directed by Jiang Wen tells the sad past of 1937 old Beijing. Black Lee, a young martial artist, decided to kill the murderer, that is, his younger brother Zhu Ganlong, in order to avenge Master's family. However, Zhu Ganlong has a close relationship with Japanese agents, and he received agent training in the United States. All kinds of entanglements before and after this made Black Lee and Zhu Ganlong at odds.

At this time, there appeared an uncontested master Lan Qingfeng, who was closely related to Zhu Ganlong and Yuan Ichiro, and at the same time was like brothers with Black Lee's rescuer Haendly. Are they enemies or friends? With the intensification of Sino-Japanese relations, Black Lee, unable to withstand the temptation to let more people go, missed many murders. Finally, with Guan's help, he launched a revenge plan and made public the criminal records of many people involved in the whole incident.

This is a very "Jiang Wen-style" movie, still full of high-profile passion, still a story in troubled times, and still Peiping, which he can't live without. Only this time, compared with Jiang Wen's early films, it is more direct, the main line of the story is clearer, pure and affectionate, but more addicted to the details of the monologue.

A film that took nearly 10 years to prepare shows that Jiang Wen has a well-thought-out plan. He once put down his rhetoric before filming. "Restore an old Beijing with a movie, and that Liang Sicheng cried and shouted for Beijing." Did Jiang Wen do it? I think the answer is yes.

Besides taking the blood feud with Zhu Ganlong as the main story line, Jiang Wen really tried his best to insert the elements of old Beijing into the details of the film. Liao Fan, the actor of Zhu Ganlong, joked in an interview: "If Jiang uses this energy to implant Beijing elements in advertisements, he won't need box office money."

Compared with previous works, Jiang Wen was obviously more confident this time, and began to do what he wanted to do, and he had a better grasp of that degree, which can be reflected from the perspective of his placement of those "old Beijing elements". If it's the old Jiang Wen, I can't wait to take a close-up of the camera at the candied haws and tell you that this is candied haws and this is old Beijing, you know, boy? This is the true memory of that era. But you can't see this kind of operation in "evil does not press right"

Jiang Wen put all his feelings in the background. The rooftop that you can see when you look up in the alley is the childhood of every old Beijing child. You can grow flowers and vegetables, enjoy the cool in summer and bask in the sun in winter. If you have that leisure and elegance, you can also set up a small table to drink some wine. Listening to all kinds of shouts in the distance seems to really bring the audience back to the era of sugar blowers and kites.

In addition, Jiang Wen himself had an addiction. Lan Qingfeng, played by him, loves to sing English songs with Beijing accent, which was a special phenomenon at that time, and people with some status did it. In particular, there is an interesting egg, which is a close-up of a picture of vinegar in an empty bottle At that time, this shot was worth a thousand words, and Jiang Wen was a "detail control". This time, everyone finally understood.

Generally speaking, Jiang Wen poured his thoughts and memories into this book "Evil Does Not Suppress Right". 10 years later, I made a movie carefully, full of sincerity and highlights. This kind of director and film obsessed with nostalgic style is really rare now. If you are interested, I really recommend you to read about Peiping 80 years ago.

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