In the 1989 film "The Heroes of Heroes" that celebrated Chang Cheh's birthday, the young man played by Ni Zhen kept talking about Ma Ge's famous sayings all day long, and frequently imitated hiding guns everywhere, which truly reflected the hero. True color had a huge influence on society at that time. John Woo and Tsui Hark jointly created a strong personal style, emotional language, smooth pictures, fiery gun battles, and a heroic image that emerged from the sky, attracting countless fans. At that time, not only Hong Kong and mainland China were fascinated by it, but even Korean windbreakers and sunglasses were sold out. It is impossible not to admire Chow Yun-fat's acting skills for creating the immortal character of Ma Ge, who is deeply rooted in the hearts of the people. Sometimes he is wandering the streets carelessly and uninhibitedly in long clothes, carrying the wind; sometimes he is holding a toothpick and lighting cigarettes with counterfeit money and pouring wine on his prosthetic leg in an extremely arrogant manner; sometimes he is wielding a gun like the wind and is invincible and proud of the world; sometimes he is limping with unkempt appearance. Working as a bus driver and working as a jobber are all convincing and make you feel that this is what a hero should be like. The most famous scene of the gunfight has been talked about by countless people for many years. The southern country nocturne in Feng Lin Pavilion is intoxicating. Ponyboy is tossing and turning in the corridor with the singer in his arms. John Woo's classic slow motion makes this scene particularly elegant and charming. Chow Yun-fat's transition from frivolous smile to fierce eyes is so The natural integration, graceful dance steps and murderous aura perfectly interpret what is called violent aesthetics. However, the scene I like more is when Xiao Ma was reading a newspaper on the street and learned the news about Brother Hao's mistake. He dropped the newspaper and walked across the overpass expressionlessly, with a lonely back and firm steps. Three years later, he put aside his former pride, carrying a bucket and rag in ragged clothes, calmly picked up the banknotes that Ah Cheng had thrown on the ground, limped back to the basement while pushing the cart, and munched on the lunch box. At this time Ahao appeared: "Xiao Ma, that's not what you wrote to me in the letter." The brothers' hands were held together tightly again.

Every time I see this scene, I always think of Yu Xuzhu, a former member of the Shaolin Temple, who stood up for Xiao Feng and fought against the enemy side by side; I think of Li Xunhuan pulling up A Fei who had lost his fighting spirit and was drunk all day long; I think of Li Chenzhou calling out Liu Wu as sorrowful as the wind and snow...