大醉侠

  我从来没有想到，一部那么久以前的武侠片会如此吸引我。
  之所以我要找这部片子看，是因为郑佩佩，那时的她实在是标准美人，不施粉黛的干净异常的脸，一双漆黑的眸子，英气逼人，不扭捏，冷艳，令人凝神摒气。
  最令我印象深刻的应该是开头那段金燕子在客栈，以一敌十的肃杀场面。我突然意识到，其实高手过招并不是要多花哨的动作，蓄势待发到猝然一击，也同样让人看得神经紧张。而且在正式的打斗之前，敌我之间的对话，切口，沉默，音乐，已经把大战前气氛调节到高潮。武侠，气氛是关键。这也应该是武侠片的典范，与最为经典的场景之一。

  只是可惜，影片后半段，到了燕子受伤后，急转直下，变得莫名其妙。两大主角在疗伤那么暧昧的情况下，居然没有后续，以至于我都怀疑自己是不是想的太多。还有就是那个杀不死的坏人，明明打死了，还会突然站出来发狠招，很令人费解。

这个大侠的形象其实很一般，倒是女主角很有看点。大侠与女主角也不8g。
“我早就听说你人面兽心，无恶不作。”
当年的郑佩佩扮金燕子还是挺年轻的，对比老年的《卧虎藏龙》里的碧眼狐狸，还是一样的眼神，武侠人士啊。
场面音乐鼓点古庙绿树
金燕子中毒箭，乞丐只好用嘴吸出其胸口的毒，金燕子态似《英雄》里的张曼玉。
乞丐一甩手，那四个强人互相残杀了，汗。
神丐还装作什么都不懂的人去送尸体，探实情。
神丐就是醉侠，用掌力左右瀑布水流，一指插落空的石头。
青竹帮的历史源头。和尚还是肯给他三天时间了结事情的。师兄弟两个都会放袖子空气，和尚输了，但还是偷袭醉侠，结果当然是死。
醉侠，没见怎么醉，只是会唱几首歌罢了。当然，武功不错。
影片画质给人明清武侠公案小说里武侠的感觉，简单明了。

       当年，青竹派掌门对嫡传大弟子刁敬堂越来越不满，于是，在帮内扶植名不见经传的范大悲，从而分化刁敬堂的势力。青竹派掌门传位的意象逐渐明朗，范大悲的势力也迅速扩张，刁敬堂感觉到了威胁，与自己师傅的矛盾终于激化，刀光剑影，师徒反目，在这个过程中，范大悲成为最大的赢家，继任青竹派掌门。
    但是，刁敬堂毕竟在青竹派经营多年，势力不可小觑。范大悲原来是个流浪的孤儿，是范大悲将其引入青竹派，范大悲的例子应该不是个案，换句话说，刁敬堂在青竹派嫡系众多。
    范大悲拥有合法性的掌门地位和权力，刁敬堂则武功高强，嫡系众多，双方分庭抗礼。刁敬堂终究名不正言不顺，而且身负弑师之罪，所以，要想压倒范大悲就要继续扩张势力，于是，将目光转向帮外，寻求外援。
    玉面虎等人就这样进入刁敬堂的视野。敢于公然绑架朝廷命官而且是两江总督的儿子，玉面虎等人势力非同小可，老大被抓，玉面虎等人也需要援手，于是，双方一拍即合。玉面虎等人对刁敬堂礼敬有加，固然是因为刁敬堂武功高强，但是，更重要的是，青竹派势力庞大，全国有三十六寨人马。
    玉面虎等人只是刁敬堂结交的外援之一，面对势力不断扩张的刁敬堂，范大悲压力山大，虽然是青竹派掌门，但是，在帮内的资历难以和刁敬堂相提并论，遇见刁敬堂的时候，范大悲只是个流浪的孤儿。范大悲在刁敬堂面前背后总是有低一等的感觉，主要就是因为资历。
    作为青竹派掌门，范大悲不可能像刁敬堂那样大肆结交帮外势力，于是，范大悲想到了官府势力。这就可以解释为什么范大悲那么积极主动地帮助素昧平生的金燕子，因为金燕子是官府中人，而且还是两江总督的女儿，对于范大悲而言，金燕子可以成为自己结交官府的中间人。
    放下青竹派掌门的架子，范大悲亲自来到金燕子的住处，极尽谄媚之能事，可见当时范大悲结交官府的急切心情。
    暗示金燕子前往寺庙，范大悲的目的是想制造金燕子和刁敬堂的直接冲突，从而实现自己与官府的结交，范大悲不可能不知道刁敬堂和玉面虎等人之间的关系。从事情的发展来看，范大悲达到了目的。
    据金燕子说，她父亲原本不肯与玉面虎等人妥协，这应该是事实，否则金燕子也没有必要孤身犯险。但是，后来居然接受了范大悲的方案，派重兵押解人质而来，这就意味着官府已经认同范大悲，双方结交。
    范大悲与金燕子打得火热，刁敬堂居然嗤之为“管闲事”，可见刁敬堂实在是个头脑简单的江湖中人，没有什么政治意识，难怪会傻乎乎地结交已经和官府正面冲突的玉面虎等人，从而将自己也置于官府的对立面上。从这个意义上说，刁敬堂不是范大悲的对手，最后死在范大悲手里不是偶然。事实上，官府认同范大悲也是因为看中了范大悲政治意识成熟。

2016年winter CCGL9001 final in-class essay
(回顾大一的英语 就像屎一样 presen做的这个 有些point还是可圈可点的)

When Run Run Shaw told King Hu to make a profitable movie using minimum budget within a short period, he did not expect that this “Come Drink With Me” would become the starting point of a new-style wuxiapian era and a classic movie that became the inspiration to later generation. In light of the impressive box office that this movie has achieved and the international influence that the “Golden Swallow” brought to both sides of the bamboo curtain, the collaboration of King Hu and Shaw Brothers was proved to be successful. Based on the clip selected from “Come Drink With Me”, this essay will demonstrate the androgynous character of Hong Kong cinema in a global context in the 1960s by identifying the identity of a heroine that combines both the traditional Chinese elements and the global aesthetics.

As Mao once said, “Women hold up half the sky.” The rise of women rights in the 1960s did get them out of the feudal society, but it is still inevitable that the other half of the sky is held by men. In this clip, the Golden Swallow would not be able to figure out the gathering spot of the villains if the Drunken Cat was not there to help her using a riddle. This could also refer to the gender equality at that period. As the Cold War was initiated, neither parties wanted to be left in the backward society. That is when the women rights started to grow. What we can see from the clip is that, although the Golden Swallow dresses like a man, she still remains her inner feminity within every move and every step. This androgynous appearance reflects her background – To balance the social equality, she is somehow compelled to solve the riddle in order to rescue the hostage, and at the same time, being an authentic female coming from the conservative Chinese culture. The figure of the Golden Swallow is also an allegory of Hong Kong in the 1960s. While surrounded by the competition of ideologies between Communists and non-Communists, Hong Kong had androgynous culture as a place of multiple identities derived from the immigrants and refugees from other communities. As a refugee himself, King Hu created this unique heroine by combining the culture background where he came from and the understanding of rise of gender equality to make a movie that the audiences of British-colonial Hong Kong could truly appeal to. The use of Chinese songs and instruments in this clip can be an illustration of the traditional elements blended in this production. What is worth mentioning is that, King Hu made very good use of the music as transition. With the combination of traditional music and smooth editing, the bond of the female character and the male character in the plot was stressed in a way that the audiences could attach to.

Overall, the production itself was very successful, considering the limited time and small amount of budget. In terms of creating a female warrior combining the past and the present, the local and the global, King Hu and Shaw Brothers had produced something that truly satisfied the audiences in the Cold War context, by demonstrating the androgyny of Hong Kong.