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John Woo
Birth at
1 May 1946
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John Woo (John Woo, 1.05.1946), the famous Chinese screenwriter and director, was born in communist Guangzhou in a poor family. John’s father had tuberculosis and was constantly in hospitals, and his mother tried to pull the family out of poverty on her own. Few people can imagine the difficulties experienced by the future popular director. As a child, he faced violence, bandits from the Triads who beat him, riots in 1967, when the police killed peaceful people. All this was reflected in the paintings
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John Woo (John Woo, 1.05.1946), the famous Chinese screenwriter and director, was born in communist Guangzhou in a poor family. John’s father had tuberculosis and was constantly in hospitals, and his mother tried to pull the family out of poverty on her own. Few people can imagine the difficulties experienced by the future popular director. As a child, he faced violence, bandits from the Triads who beat him, riots in 1967, when the police killed peaceful people. All this was reflected in the paintings of John Wu, filled with battles, duels and action-packed fights.
In 1973, John Wu began making debut films, choosing the pseudonyms Wu Yu-sheng and John Y.C. Woo. John's real name first appeared in the credits of the film "From the Princes to the Mud", filmed in 1980. At that time, he was shooting ordinary comedies of Hong Kong production, which were not very successful at that time.
In 1985, John Wu struck local film lovers with the gangster film Bright Future. This film, inspired by the famous “Samurai” Jean-Pierre Melville, presented his own directorial style, filled with ballet accuracy of martial arts images of Sam Peckinpah. Subsequently, John Wu shot only box-office films, among which "The Hit Killer" (1989), "Bullet in the Head" (1990) and "Coolly Boiled" (1992).
John Wu is known to many film fans as a director of a large-budget film.
Mission Impossible 2" Which he shot in 2000 at the height of his fame. Simultaneously with this picture, he continued to make cheap films reminiscent of his first Hong Kong action films. His style, which is typical of the use of images of pigeons as a symbol of the end, mirrors as a harbinger of danger, and two pistols in scenes of “Mexican” silent duels, is recognizable in each of his exciting works. /