Was made in 1966 . it was king hu s first attempt at wuxia genre , as well as cheng pei - pei and yue hua s debut in a wuxia movie . before the release of this film , wuxia was not a popular genre in hong kong 《大醉侠》摄制于1966年，是名导胡金铨的首部自编自导武侠作品，也是演员郑佩佩和岳华首次参演武侠片，意义重大。
Interestingly , though king hu s career path did not exactly run smooth , during his lifetime , he was a darling of critical and scholarly establishments , and received almost unanimous critical acclaim for his works 有趣的是，胡金铨生前虽然不算得志，其作品却一直受到评论及学术界的眷顾，研究者众，得到的评价相当崇高而一致。
In addition to the compositions , camera work is also highly appreciated . the consideration of camera angle is not merely for the sake of storytelling , there is also an unique and significant artistic touch 而且无论是市集的场面或是后来的佛寺和草原等，胡金铨对于镜头角度的摆设都非常考究，十分讲求画面的美感，大大增强电影的艺术价值。
King hu s martial artistry , on the other hand , starts with the corporeal and progresses into the sublimated , ethereal incorporeal . this transcendence from the physical to the metaphysical is the ultimate chinese cultural ideal 相反，胡金铨武侠则从肉体武功开始，进而追求超脱肉体局限的飘逸与空灵，企图从形而下升入形而上，这是中国传统文化向往的进境。
1975 , for example , was restored by digitally reinstating faded colour , and the most complete cantonese version of bruce lee s the kid 1950 in existence is reconstructed from different incomplete versions of the film 例如胡金铨的忠烈图1975就是运用数码系统修复已变色的菲林而李小孩童时期主演的细路祥1950则经由不同来源的拷贝拼合，重新翻印，始得见较完整的版本。
King hu s films also features larger - than - life male characters , but whether they were orthodox heroes in the chivalric and loyal mode , treacherous imperial eunuchs , or accomplished monks accessing higher wisdom , they followed the traditional archetypes 胡金铨武侠片亦有男性英雄，但主要是正统的忠臣义士，或反派的太监高手，或追求高超佛禅境界的高僧，都直承中国传统典型。
You can feel the attention to details obviously . in addition to the compositions , camera work is also highly appreciated . the consideration of camera angle is not merely for the sake of storytelling , there is also an unique and significant artistic touch 而且无论是市集的场面或是后来的佛寺和草原等，胡金铨对于镜头角度的摆设都非常考究，十分讲求画面的美感，大大增强电影的艺术价值。
Staunch masculinity style was so overwhelmingly powerful that it simply uprooted the foundation of local cinema and established the supremacy of the male action star for years to come . his influence on local cinema , in this aspect , was beyond that of king hu , or any other directors 但张彻的阳刚路线大大扭转了港片的性格，开创了此后长期以男星为首的港片主流趋向，这方面的影响是胡金铨及其他导演不及的。
Li han - hsiang and king hu belonged to the same generation of filmmakers , and became buddies in the 1950s , when both were still down and out . they formed a brotherly alliance with other film veterans , feng yi , chiang kuang - chao , ma li , shen zhong , and sung chuen - sau , and called themselves the seven idlers 李翰祥胡金铨同辈，两人相识于微时，五十年代曾与冯毅蒋光超马力沈重宋存寿等结拜为兄弟，戏称七大闲。
