Two Koos for the Price of One: Accident (2009) and Overheard (2009)

Clearly, 2009 was Louis Koo’s year, appearing in two films that I recently watched in my own personal Louis Koo double feature, Accident and Overheard.

Let’s take Accident, or as I like to think of it, Look Both Ways Before Crossing the Street, which also stars  Richie Jen.  Louis Koo plays the leader of a group that stages murders to look like accidents, you know, for a fee.  I think it’s a solid film, nothing spectacular, but by no means something crappy.  Koo’s performance is good, if what we are going for is an emotionally detached character, which I think is the goal.  Sufficient twists and everything, but I was particularly impressed with the camera work. Soi Cheang really paid attention to the use of elements and light in this urban setting.

I found Overheard to be much richer in terms of narrative, tho.  Starring the trifecta of Koo, Lau Ching Wan and Daniel Wu, it took turns I did not anticipate.  Again, nice camera work by Alan Mak.  This film is about three surveillance cops presented with the opportunity to profit from overhearing a stock tip from a company they are investigating. What I like is the way the personal lives are interwoven into the professional lives of these men, which provides a depth to their motives, especially Koo’s character. Dang!  Koo really does desperate well.

What both films share is the theme of surveillance: people who look at other people, people who think others are watching them, and the impact that has on the way people live their lives and make decisions.  It seems timely, with technology invading privacy and altering the ways in which we deal with one another.

Can I just say, tho, that I’m never buying it when they try to age Koo. That man will always be forever  young to me. And can we please get him some better quality glasses if he must portray characters who wear glasses? Go back at other films and look! He always wears these not-attractive glasses!

Wuxia Woman, Where Are You?

So, it may seem that I’ve abandoned my love of Chinese wuxia, having seen the bright lights of the kdrama Queen Seondeok and the sexy manly of Korean idol bands like SS501 (oh yes, a WHOLE entry devoted to them is coming)…..

Fret not, I’m still down with my wuxia! I thought people might get a little sick of me continuing to wax poetic about Zhuge Liang, because I can talk all day long about Romance of the Three Kingdoms!  I teach an Asian film and lit class, and that time is rolling around again for the biannual showing of Red Cliff, Parts 1 and 2.  I did watch Tsui Hark’s Detective Dee and the Mystery of the Phantom Flame awhile back, and was pleased, just haven’t got around to putting my thoughts down.

But the historical kdrama and the Chinese wuxia series are closely related to my interests: women you don’t want to mess with, and talented handsome  men who tag along! (How many times do I gotta tell y’all about applying to be my own personal Hwarang?  Then again, I have to think about what function a contemporary Hwarang would have….and do they need a health plan?). So I need a basis for comparison. Plus, the Chinese series are a little slow in coming….I’m not really interested in Chinese Paladin, and I’ve heard bad things about The Jade and the Pearl.  The last ones I watched were The Master of  Tai Chi (with my perennial boo, Vincent Zhao) and The Four (with, you know, those four guys).  While The Master of Tai Chi had several significant women’s roles, The Four had none.  Well, that’s not true, it did have one, but she’s kinda disappointing in the end. Ok, more than one, but it was still not the greatest for women. I keep meaning to hit the new versions of The Book and the Sword and Heaven Sword and Dragon Sabre, but not yet.

I’ll be back in full effect once my YesAsia shipment gets here: most notably, the 95-episode treatment of Romance of the Three Kingdoms, True Legend, Reign of Assassins, Legend of the Fist: The Return of Chen Zhen (DOOOONNNNIIIIEEEE!! I know, not wuxia, but it’s Donnie Yen!).

Don’t worry, I keep my eye on the wuxia world………

Is Nicholas Tse This Generation’s Andy Lau?

Quite the intriguing question! I’ve been thinking about this lately, and my conclusion is…..no. At least not yet, but I think he may be on his way.

Let’s look: Andy Lau has a crazy successful music career, done his stint on the tv dramas, is a venerated actor and is just easy on the eyes overall.

Nicholas Tse has, from what I can tell, a good music career, done his stint on the tv dramas (and still is doing the tv dramas–good job!), is a good actor and, well, you’ve seen him. (Apparently so has all of Asia, having been voted as Asia’s Most Handsome Celebrity, according to a story on gokpop.com.

My point is that both are multitaskers who multitask well.  Now, Andy Lau’s been around a while (luv u!), so he’s had time to develop quite the film career.  And anyone who’s seen a good sprinkling of his films know that he’s equal opportunity, meaning that he’ll star in anything:  from Infernal Affairs to Resurrection of the Dragon (don’t get me started). Andy Lau works so much I’d half expect him to show up as a toy in my cereal, and not sure that hasn’t happened somewhere in the world. Nicholas Tse needs time, he needs his own Infernal Affairs. I don’t know if he’s had it yet. Some might point to Bodyguards and Assassins. But he has time. Ok, it’s no secret that Nic Tse is my boo. I’d watch him in lots of stuff, LOTS of stuff.   I’m  willing to wait to see what he has to offer in the future.

 

Once A Gangster (2010): The Triads Get A Mortgage!

You know, when you seen a gazillion triad movies, it’s hard to bring something new. Ok, not quite that many, but I’ve been privy to the teenage triad movie, the betrayal triad movie, the female triad movie, the triad comedy, the triad tragedy, the triad drama.  So when I heard that finally the triad parody was on tap, I was ready.

Now, I realize that one movie cannot spoof every triad film known to man.  But I have to say, it was a certain stroke of genius to cast Ekin Cheng and Jordan Chan in Once A Gangster.  Who didn’t love them in the sprawling Young and Dangerous saga? I bet if Andrew Lau made Young and Dangerous: The Grandkids, people would go see it.

What I liked about the film was that it references the big triad films, and you recognize it right away.  What REALLY warmed my heart was it referenced my favorite Andy Lau movie of ALL TIME!  (If we are Asian film siblings, you know what that is.) That was special. And while I usually tell you all the good stuff, I’m going to let you see for yourself.  Just think of how difficult it would be to be a triad member in these hard economic times. Is it still profitable to be a gangster, when you have to send your kids to school? How best can we use social networking for criminal enterprises? These and many more questions are answered. My only complaint is that there wasn’t more spoofing of more films!

Taking it Back!: Dragon Inn (1992)

It’s been a while….let’s watch a film together!

So Tsui Hark, in true George Lucas style, has decided to revisit something he’s already done, fairly well.  While we wait for the “New and Improved Dragon Inn,” let’s see what’s up with the 1992 movie.  He’s cast Jet Li and Xun Zhou (she was in the 2003 version of Legend of the Condor Heroes playing Huang Rong, this might not be a bad thing), but they got BIG shoes to fill.  Let’s see!  Comments are welcome all month long!!!!

One Of These Things Is Not Like The Others

So no writing on women on wuxia yet, but I’ve been thinking that I’m going to eliminate Project A from the article.  Both The Young Warriors and Eagle Shooting Heroes are period wuxia stories, whereas Project A is turn of the century.  Plus, The Young Warriors has Mama Yang, which allows me to talk about motherhood and the relationship between mothers and kung fu like I was with Project A.

On a related note, I remember reading an article maybe by King-kok Cheung a long time ago on how writers like Frank Chin focused on the warrior Chinese legend as a reflection of Chinese masculinity, and completely ignored the scholar.  In my umpteenth watching of Red Cliff and reading Romance of the Three Kingdoms, I’m thinking of maybe writing something on masculinity and the strategist.  I polled my class, and while their favorite brother is Guan Yu, their favorite character is Zhuge Liang (mine too! it has nothing to do with the fact that Takeshi Kaneshiro playing him in the movie).  They like him because he is clever and I just wonder if this is the model of a different mode of Chinese masculinity, whereas one is a great man because you are smart.  Hmmmm.   Reminds me of a line from Paul Beatty’s The White Boy Shuffle, “You ain’t hard. Calculus is hard!”

Women and Wuxia

Ok, I’ve put it off long enough.  It’s about time I started my women and wuxia article.

This is what I have so far:

At the end of Maxine Hong Kingston’s The Woman Warrior, the novel posits a reimagining (?) of the woman warrior narrative, suggesting that the way of peace is ultimately better.  That may be true, but it seems to play down the huge legacy of woman warriors in the wuxia tradition. Beyond Mulan, wuxia is crowded with women who can (and often do) beat you down.  Yet in many of the wuxia films, these women are placed in oppositional roles related to men.  The implication of Kingston’s book seems to be that it’s too hard to be a woman warrior, or at best, being a woman and being a warrior are antithetical.

This notion is challenged, not so much by wuxia films, but by wuxia dramas.  I intend to examine three to show how this dichotomy is negotiated in ways that allow women to be women and warriors.  I’ll be looking at three figures:

The Kung Fu Couple:  The most recent incarnation of Eagle Shooting Heroes (2008) continues to represent the relationship between Huang Rong and Guo Jing as one that is more egalitarian than one might expect.  Not only is Huang Rong trained in kung fu by her father, for a good deal of the series, her ability surpasses Guo Jing’s. And yet, they remain a couple.  Hmmmmm.

Mothers and Sons: We’ve seen mothers teach their sons kung fu in movies such as Fong Sai Yuk, and this tradition extends to the wuxia series as well in Project A.

Kung Fu Matriarch: Probably one of the most intriguing examples of women and wuxia is in the series,The Young Warriors.  You’ve heard me wax poetic about Mama Yang, but what is really interesting is that she is a kung fu mama AND a regular mama.  She’ll correct your form, but also give you dating advice.  All while sporting those red robes, well-coiffed hairdo and perfectly manicured hands.

So this is where I am. Updates to follow!

Election (2005), Dir. Johnnie To

With the crazy popularity of Hong Kong director Johnnie To, it seems that the hip, cool thing to do is to poo-poo his films, almost like people are tired of him making good films. You know who you are…….

Which is why I’m going global with this declaration: I love a Johnnie To film! That’s right, I’ve said it. And one of my favorites is Election. I just showed it in a class recently, and I realized that, like any good film I like, it’s better subsequent times around!

If you’ve gone through the Young and Dangerous series, every John Woo film he made before skipping town for Hollywood, and nearly every permutation of triad-mob story-Chinese gangster movie, your expectations for seeing something new in a triad film may be low.  Even if you’ve seen Johnnie To’s other triad movies (shout out to The Mission), Election gives you what you expect in a Johnnie To movie (appropriate music (yes, I’m still referencing The Mission), domestic scenes with men, mood lighting).  What I think is keen about Election is the tribute it pays to old-school gangsterism.  Before you had semi-automatic weapons, you had to use what was at hand.  And Tony Leung Ka-Fai and Simon Yam use WHATEVER is at hand!  Back when people had, to borrow a sentiment from Miller’s Crossing, “ethics.”

That’s right, I love a Johnnie To film, and I don’t care who knows it!

Rock the Bells: Ding Dong Suckers!

So I’m finishing The Master of Tai Chi, and noticed just a passing shot that featured a large bell, which got me to thinking how prominently bells are featured in wuxia dramas. Surely there is something to this.

Need to stash your super secret kung fu manual? Carve it on the inside of a bell.  Not only is this the case in The Patriotic Knights, I also think this trick is used in the old school Return of the Condor Heroes ’83.

Wanna deliver some old school justice?  Put your adversary in a bell and set a fire like in  The Legendary Warrior. This move is particularly satisfying, but you gotta commit to watching the whole thing to find out why. Schnacky!

However much I may like the large bells, my favorite use of bells are small bells.  While our ninja friends may value stealth and secrecy, nothing beats the sheer coolness of wearing a bell, or several.  Romance of the Red Dust is NOT my favorite series, but I’ll watch that for dude with bells on his belt.  Which he rings just before he kills you.  Or chickie in…..you guessed it….The Patriotic Knights, whose staff has bells.  She can’t be more than a teenager, but I’ve seen her mess people twice her age up with that staff!

What do bells say?  They say, “I’m so bad, I don’t care if  you know I’m coming!”  Now, all I need to do is find some……..

Storm Warriors (you know it was coming)

Ok, it’s April (almost) so the film for the month is Storm Warriors.  I’m watching it…soon.  I’m still mesmerized by my 3-D packaging, although my friends over at LoveHKFilm.com suggest that this will be the height of my enchantment with this film.  Watch and discuss!

What Girls Want

I used to wonder what a triad movie directed by a woman would be like, and I got my answer with Sylvia Chang’s Run Papa Run. I like the premise of exploring triad life from a different point of view, giving us something we haven’t seen before.  So Chang’s subject matter of the tensions between domestic and gang life, as well as her use of direct address to the camera by Louis Koo, was refreshing. In fact, I was really liking this film until I got to the part I didn’t like, namely, how despite his best efforts, the gang life continues to intrude on the domestic life.  Which would work for me as a viewer if not for the fact that this wasn’t a story where the wife didn’t know about the husband’s activities (she meets him in the police station–she’s his lawyer).  She knew what she was getting herself (and her potential family) into. What did she think was going to happen?  Then, the film seems to harp on the protagonist’s failure to reform and change his ways.

I don’t know about other girls, but this girl prefers her triad movies to not insult her intelligence in this fashion. This plays into the stereotypical behavior ascribed to women, i.e. oh, I can change that man. That man is a gangster, and either you are going to be like Andy Lau’s wife in Century of the Dragon and get with the program, or be whiny about how your man is a criminal. Either let gang life take its toll, or work out a compromise: upstanding citizen by day, triad boss by night. But don’t drain the film of its inherent qualities as a film on the triads to fulfill some expectation about what you think women want to see in a triad film.  I like triad films because they are triad films: loyalties get tested, people get shot.

Seven Swords (2005)

The first time I watched Seven Swords was on the heels of Tsui Hark’s series version.  At that time, I was so enthralled by Vincent Zhao’s Chu Zhaonan that I didn’t really pay too much attention to the movie, but with some time on my hands, I’m giving it my full attention, and I got questions.

The movie requires you to know this story, because it unfolds on the screen so fast.  First, funky looking people are whacking villagers, next thing you know, you’re in the mountains with meteors raining down from the sky.  But I did like some of the changes Hark made, like making Yuanyin female, because girls can carry swords too.

But I’m most intrigued by Donnie Yen’s Chu Zhaonan being Korean. He wasn’t Korean in the series, and since the world has not seen fit to provide an English translation of the novel both are based on, I have no idea if this is original or of Hark’s own making. In the wuxia genre, outsiders are generally from “the West” or anyplace other than where our heroes originate.  Does it make a difference that Donnie is Korean? I think so; it underscores what I guess is supposed to be the character’s aloof nature.  He’s all anti, which makes the whole supposed love-relationship with Green Pearl not very believable…..that is, unless you  know the story. He’s anti because he’s not from “here” but making him from Korea puts a new spin on who he is as a character. Is it supposed to make him more noble, or more distant?

What I miss is the exploration of the relationships among the brothers, and between Chu and Yang Yunchong. In the movie, they just seem to be hanging out on Mt. Tian, and you don’t get a sense of the brotherhood.

What does remain is the crackaliciousness of the villagers.  They are supposed to be righteous, but they would sell out their grandma. Upright swordsmen come to save you, and you accuse them of being traitors. Where’s the love? Village leader willing to whack his own daughter with no proof that she sold out the village.  People willing to whack kids (how low!).  So much for doing it for the people.

Why I’m Going to Start Cutting Jackie Chan Some Slack

You know, it wasn’t always like this between Jackie and me.  We had a great relationship:  Drunken Master, Project A, Supercop, Police Story.  Things started to get rocky with the Hollywood movies, and while you can say lots about Rush Hour (I have!), it had its moments and is part of larger Afro-Asian thing. No, Jackie and I officially broke up over that crap better known as Shanghai Knights (although, to be honest, part of that probably has something to do with that fool Owen Wilson).  The Forbidden Kingdom did nothing to help our estrangement.

So, you may be asking, why, on the cusp of The Karate Kid, am I reconciling with Jackie?  Don’t get me wrong, I fully expect that The Karate Kid will be bad (and if it’s not, I’ll be the first to admit it).  But I was recently reminded why I like Jackie Chan in the first place.

I was recently watching Around the World in 80 Days, and in the midst of the highjinks, had to remind myself that Passportout was not Asian in the book.  Next thing I know, Sammo Hung is on the screen playing Wong Fei Hung!  Anytime you can slide Wong Fei Hung in a movie, I’m game, and I’d like to think Jackie had something to do with it.  More importantly, I admit that I miss Jackie Chan’s action work, which I can watch when the racial stereotypes aren’t blocking the view.  Yes, 80 Days doesn’t offer deep social commentary, and isn’t even the best action work Jackie Chan has done.  But it’s not trying to be.  80 Days is Saturday afternoon B-movie with a crazy expensive budget.  And for every 80 Days, there is a  Rob-B Hood. And when I look at it that way, Jackie Chan ceases to offend me, or at least, not as much.

So instead of holding my breath for The Karate Kid, I’m getting my DVD player ready for Shinjuku Incident, and hoping that Jackie and I can stay together, whether times are good or bad, happy or sad.

Spirit of the Sword (2007)

My quest to see all of the wuxia dramas starring Nicholas Tse continues with Spirit of the Sword.  Ok, I don’t hate it, and I don’t not like it, I just think it could be better.  I do like the fact that Patrick Tam is in it, which reminded me that I really like Patrick and must watch more stuff that he’s in.  I like the story.  I’m particularly intrigued with the notion of race and how it impacts how the characters get treated (i.e. oh, you aren’t from the Central Plain, you need to get to steppin!)  I like the multiple swordswomen in this one too.  And every good wuxia drama needs a good villain.  I was almost convinced that the villain was not the villain.  How delicious!  Despite the subterfuge, I like how the drama committed to the fact that he’s the villain.  If you are going to be a villain, you got to be bad, like killing folks family bad, like whacking allies bad, like breaking the brotherhood bad.  Woohoo!

But I think it could be better.  I’m used to advertising for wuxia dramas misdirecting me..ok, so it’s not really about Nic’s character but his brother.  Fine.  Oh, its not really about these swords.  Fine.  But the pacing is slow, and we spend too much unnecessary time on the romance.  Now you have to understand that I started watching those 1980s wuxia dramas that are really slow, with lots of monologues about the ever-present romantic triangle and I didn’t mind that.  I like the romance, but really, the pacing in Spirit is unnecessarily slow.We know that nobody likes Nic’s character and aren’t thrilled about Gillian Chung’s character’s romance with him, let’s move on, shall we?  I also wished they would have spend more time on the reconciliation of the half-brothers.  I mean one minute you want to chop him up, and we are supposed to believe you will stand by his side in the final climatic fight?  I’m just not buying it, even if it is Nicholas Tse.  And then there were parts that were just funny.  I mean, how effective is a sword that is almost as big as me?

Would I watch it again?  Yeah, but I wouldn’t be thrilled about it.

The Kids Are Not Alright: Beast Stalker (2008)

Ok, time for a brief vacay, but before I go, here’s our film for this month:  Dante Lam’s Beast Stalker.

Now, if you watch Hong Kong film, you know that kids are not safe.  Anything is liable to happen to them, so you won’t be surprised by the first few sequences of the film.  However, I am glad to see, for once, a smart child in a film.  None of that whining, or worst of all, doing obviously bad things that just make your bad situation worse.

But, Nick Cheung steals the show. You have to understand, the first film I saw  Nick Cheung in was Andrew Lau’s The Duel, where he did a really good job of acting the fool, which is what his role called for.  So it’s not without a little bit of pride that I watched his performance in Beast Stalker. It represents his steady rise, with Election and Election 2 as well as Exiled to his credit (we won’t talk about My Wife is a Gambling Maestro–let’s pretend it doesn’t exist, shall we?) And it highlights one of the great things about Asian film in general, namely, the complexity of the villain.  Yeah, we know that Nick’s character has a certain moral bankruptcy, but has he really lost all of his humanity? Really? Are you sure? You know you’ve done a good job when I’m a little afraid of you by the end of the film.  I’m little afraid of Nick–he’s not the person I’d like to see lurking in the shadows under any circumstances.  The same thing happened when I watched Sha Po Lang:  I’m a little afraid of Sammo Hung now.  And while I could make some comments about Nicholas Tse’s performance  (later post on my luv affair with him, really, I’ve watched practically everything he’s been in, I really really like him!), I wasn’t mad at him in this film either.  Plus, this film has several good lessons, including watching out for the elderly if you are trying to commit a crime in your apartment.

Overall, I generally like that gritty, urban cop thing that Dante Lam does, so I’m pretty satisfied.  Interest piqued?  Watch the film and let’s discuss!