skip to main |
skip to sidebar
Film: Little Big Soldier
Release date: 8th November 2010
Certificate: 15
Running time: 96 mins
Director: Sheng Ding
Starring: Jackie Chan, Leehom Wang, Yoo Seung-yun, Lin Peng, Xiao Dong Mei
Genre: Action/Adventure/Comedy
Studio: Cine Asia
Format: DVD & Blu-ray
Country: China/Hong Kong
The talented and nimble Jackie Chan gives a commemorative performance in this martial arts comedy caper set in China during the Warring States period, just before the country was unified. Directed by the relatively unknown Ding Sheng, Little Big Soldier sees the kung fu icon return to form, even if it’s the younger members of the cast – including pop star Leehom Wang – who ultimately steal the show.
Much blood has been spilt between two opposing armies, the Liang’s and the Wei’s, and thousands of casualties lay motionless among the battlefield. However, the conflict has spared the lives of two men, Old Soldier (Chan) from the Liang Army, who shamelessly played dead, and a prince (Wang), from the Wei Army.
Unscathed, Old Soldier takes the wounded prince as his captive in the hope of handing him over to his superiors for a reward. But the journey to the state of Liang proves a long and treacherous one with many bandits and barbarians waiting in the wings. The unfortunate twosome also has to deal with the aggressive pursuit of prince’s brother Wen (Steve Yoo) and his entourage, who seek to kill him and take his place as the future ruler of Wei.
Through the formidable circumstances that start to emerge, the pair help one another during the many sticky situations, and come to rely on each other to survive. A tolerance and understanding between the two soldiers emerges, each finding a new respect for the other and a dignity within themselves...
The main script, written by Chan, is relatively straightforward. But beneath the simplistic plot lays a moralistic tale of honour, loyalty and brotherhood. Whatever the film lacks in plot, it more than makes up for in the fine acting capabilities of the cast, especially that of Chan. His portrayal of the seemingly gutless scallywag showcases his brilliance at comedy timing - his acting ability has vastly matured, and takes preference over his skill as a martial artist. Chan and Wang play-off each other very well and make a very convincing pair whose characters are inevitably bound together. Through the events that take shape, Chan’s character, Big Soldier, who is referred to as Small Potato by his hostage, proves to have admirable qualities he never thought he had - supposedly a coward at the start of the film by playing dead on the battlefield to avoid being killed.
The film is laced with subtle metaphors such as the poignant performance on a mountain top by the girl singer (Peng). Dressed in a white rope with long flowing sleeves, she moves swiftly like a bird, possibly signifying a dove of peace flying over the zenith. Although she plays a minor role, Peng’s delicate deliverance as the singer has a beauty that is most welcome, and doesn’t feel out of place or contrived. Even in this small part, Peng shows she has a graceful quality that could potentially take her to the heights of Zhang Ziyi (House Of Flying Daggers) or Xun Zhou (The Banquet). Overall, the film has a great supporting cast, even minor characters like the scholar and his students stand out. In fact, it’s a shame they didn’t have more screen time as they worked really well.
Director Ding Sheng presents us with the vastness of a dry wasteland, incorporating stunning panoramic views of jagged mountains that are used as a backdrop to the narrative; the camera sweeping over the summit giving scope to the terrain, and the environment showcasing the harsh conditions of the journey in which the foot soldier undertakes with his captive in tow. The costumes depicting ancient armour and the rugged look of Old Soldier and that of the barbarians blend in with the scenery, making the overall look of the film a character in itself. Vibrant colours are used sparingly throughout the film but are put to good effect during a dream sequence that has Old Soldier blissfully running through a field of yellow canola flowers.
The soundtrack is also underplayed, not being excessive for the sake of it, or for needless sentimental reasons. Often the score goes unnoticed, but that’s a good thing as it blends in with the whole presentation, never being unnecessarily dominant or distracting.
Chan bounces back from a string of uninspiring Hollywood films with Little Big Soldier in which he brilliantly demonstrates his acting ability that has improved immensely over the years. Although his action sequences emphasise his expertise in acrobatic manoeuvres rather than his proficiency in the art of kung fu, Chan fans won’t be disappointed. Strong performances from a competent supporting cast and genuinely funny successions of comedic moments, as well as striking visuals, makes this a must see film. SLP
In Tangshan in 1976, two 7-year-old twins lie buried under the rubble of a devastating earthquake. The rescue team explains to their mother, Li Yuanni, that freeing either child will almost certainly result in the death of the other. Forced to make the most difficult decision of her life, she finally chooses to save her son Fang Da, the male twin.
Although left for dead, the female twin, Fang Deng miraculously survives for several more days before being pulled clear of the wreckage by another rescue team, who believe that she has succumbed to the terrible disaster.
As she wakes up in the pouring rain, suffering from the emotional shocks of the disaster, and the painful memory of her mother's choice, Fang Deng decides to hide her true identity from the world, and begins an emotional journey which will take her across the globe - and force her to confront demons within herself.
Already one of the highest-grossing disaster movies of all time, Aftershock is a dazzling cinematic achievement.
The film is based on the Tangshan Earthquake in 1976 that took the lives of 240,000 people.
Film: Aftershock
Release date: 12th November 2010
Certificate: 15
Running time: 135 mins
Director: Feng Xiaogang
Starring: Jingchu Zhang, Daoming Chen, Chen Jung Li, Yi Lu, Fan Xu, Jin Chen
Genre: Drama/History
Studio: Metrodome
Format: Cinema
Country: China
Film: True Legend
Release date: 25th October 2010
Certificate: 15
Running time: 115 mins
Director: Yuen Woo-ping
Starring: Chiu Man-cheuk, Zhou Xun, Michelle Yeoh, Feng Xiaogang, Andy On
Genre: Action/Drama/History/Martial Arts
Studio: Optimum
Format: DVD & Blu-ray
Country: China
Considering some of the classic films Yuen Woo-ping has made over the years, and the sudden and bizarre death of David Carradine following his role in the film, the box office failure of martial arts film True Legend would have come as something of a surprise. Now that the film seems to have signalled something of a resurrection in the career of Vincent Zhao, Woo-ping will be hoping that the film can prove more successful on its DVD release.
True Legend tells the story of Su Can (Zhao), a general of the Qing Dynasty who leads a military group to save their prince from death at the hands of his enemies. To show his gratitude, the prince offers to make Su Can Governor of Hu Bei. Su, however, refuses, saying that he would prefer to live peacefully with his wife and start a family, suggesting instead that his brother in law Yuan Lie (Andy On) be made governor.
Years later, Yuan returns to their home, kills Su Can’s father who has raised him as his own, and kidnaps his sister, Su’s wife Ying (Zhou Xun) and their son, Feng. Su battles with Yuan, but is not strong enough to compete with his new Five Venom Fist technique, and is thrown into a river and left for dead.
When he eventually recovers, he and Ying, who leapt into the river after him, realise that if they ever want to see their son again, Su must train harder than ever and become strong enough to defeat his former friend…
There is a lot to like about the premise of True Legend, featuring as it does many of the ingredients of a classic martial arts film. Yuan’s increased skill upon his homecoming has suggestions of the student out-learning the master; Su Can’s thirst for revenge fits well with the genre’s recent penchant for vengeance films; and the idea of a friend and brother turned bitter enemy seems to never grow old. However, with its Freudian overtones and questions of morality, True Legend seems to bring more ingredients to the recipe than many other similar films. Unfortunately, while these elements are brought up, they are rarely elaborated on, and fade away in favour of a new fight scene, which can prove irritating, at times - just when the story is beginning to become interesting, it veers off in another direction.
The most glaring example of the film’s poor structure is that it reaches its logical and highly effective conclusion while there is still half an hour left, meaning almost a third of it seems as though it has been stuck on to make up screen time. If more time had been taken in looking at the emotional and physical journey undergone by Su Can, in order to reach the climactic battle with Yuan, then the film could have been far more powerful.
Visually, True Legend could best be described as inconsistent. While Woo-ping does make good use of some glorious scenery, the film’s CGI looks cheap and laughably unrealistic. During fight scenes, the editing is jerky and annoying, which is surprising as the rest of the film is fairly polished visually. The fight scenes are difficult to assess, as they do provide some exciting, fast-paced action, yet are not as artistically innovative as the director clearly intends. Woo-ping has clearly been influenced by the gravity defying action of recent successful martial arts films, but while he aims for Crouching Tiger, it comes out looking more Mortal Kombat. This needn’t necessarily have been a bad thing - as the fight sequences are intense and violent - if Woo-ping had kept the action rooted in a more realistic format.
The standard of the fight scenes, and indeed much of the film, is raised considerably by the performances of the two male leads. As Su Can, Vincent Zhao brings emotion, heartache and a real sense of physical prowess to the role. He does an excellent job of displaying the conflicted nature of Su Can’s character, making him believable both as the decorated military leader he begins as, and the pathetic drunk he eventually becomes. Andy On, too, deserves high praise for his portrayal of Yuan Lie, providing a genuinely threatening and disturbing villain, even if he does look a bit like the grim reaper from Bill & Ted’s Bogus Journey. Indeed, at times, the performances of both men are so good that they seem out of place amongst all the silliness that is going on around them - this surely is an indication that, with a little more careful plotting and less extravagant ideas, True Legend could have been a far better film.
A frustrating film that never quite becomes as ridiculous as it sometimes threatens, but fails to deliver the promise that its strong cast and interesting premise provide. True Legend is an enjoyable enough watch, but fails to join the ranks of the genre’s recent classics. PK
Set in the war period in China between 476 BC – 221 BC, Little Big Soldier tells the story of a soldier (Jackie Chan) and a general (Wang Leehom) from opposing states (Liang and Wei), who have very much opposing views on the war and world.
Jackie Chan - in one of his finest performances - plays the soldier from Liang, who survives the war which had left most men killed, by playing dead until the war was over. Lee Hom Wang, who plays the general from Wei, survives the war, but would rather be dead after the bloodshed.
A painful yet comical journey commences when the soldier decides to abduct the downtrodden general and bring him back to his state in the high hopes of collecting a reward. Taking the general home was not as easy as expected, however, as the general attempts suicide many a time, but the soldier insists on saving him for his huge reward - even if that means endangering his own life.
A bonus digital copy of the film will be packaged with the DVD as a special gift from Cine Asia. The disc comes with a specially formatted standard definition digital version of the full-length movie so that you can fully enjoy the possibilities of watching the action-packed Little Big Soldier on your PC!
Film: Little Big Soldier
Release date: 8th November 2010
Certificate: 15
Running time: 96 mins
Director: Sheng Ding
Starring: Jackie Chan, Wang Lee-hom, Yoo Seung-yun, Lin Peng, Xiao Dong Mei
Genre: Action/Adventure/Comedy
Studio: Cine Asia
Format: DVD & Blu-ray
Country: China/Hong Kong
DVD Special Features:
•
Audio commentary by Hong Kong Cinema Expert Bey Logan
•
Trailer gallery – Including first look at Ip Man 2, starring Donnie Yen!
•
Interview gallery
•
‘Making of’ gallery
•
‘On set report’ gallery
•
Behind the scenes
•
Jackie Chan music video
Film: House Of Flying Daggers
Release date: 2nd May 2005
Certificate: 15
Running time: 114 mins
Director: Yimou Zhang
Starring: Ziyi Zhang, Andy Lau, Takeshi Kaneshiro, Dandan Song, Hongfei Zhao
Genre: Action/Adventure/Drama/Fantasy/Martial Arts/Romance
Studio: Pathe
Format: DVD
Country: China/Hong Kong
A triumphant work of artistic and directional genius, House Of Flying Daggers is an action romance that follows the tale of Mei, a suspected vigilante, and Jin, a governmental official, as they fight hidden enemies in search of the rebel group House of Flying Daggers. Having received international rave reviews, and an alleged 20 minute standing ovation at the Cannes Film Festival, it is no wonder that House Of Flying Daggers remains at the top of many a film lover’s list.
Set during the decline of Tang Dynasty China, the government and its officials are riddled with corruption. Amongst civil unrest, an underground alliance named House of Flying Daggers emerges with the purpose of combating corruption, and fairly redistributing the country’s wealth among its people.
While respected and revered by the common mass, House of Flying Daggers is hated by the local deputies who have vowed to destroy the allegiance. Despite having recently murdered the old leader of the Flying Daggers, the rebel group only becomes stronger due to the presence of a mysterious new leader, whom Captain Jin (Takeshi Kaneshiro) and Captain Leo (Andy Lau) of the Chinese authority are given ten days to find and destroy.
Leo sends Jin, a flirtatious and unscrupulous playboy, to investigate claims that a Daggers affiliate is masquerading as a show girl at the Peony Pavilion. At the brothel, they find and arrest the beautiful blind artisan Xiao Mei (Zhang Ziyi), a dagger wielding martial arts master with a political agenda. Mei is incarcerated as rumours circulate that she is in fact the blind daughter of the late Daggers leader. In a cunning plot, Leo and Jin plan to trick Mei into leading them to the Daggers secret location.
Under the false pretence of being an admirer of the Daggers, Jin springs Mei from prison and leads her away from the governmental officials - or so she thinks. The two are followed closely by Leo and the local militia, who fake an ambush to convince Mei of Jin’s sincerity. Apparently blissfully unaware of the scheme, Mei begins to trust Jin, and an unlikely romance blossoms, as Jin’s game of trickery and deceit escalates into a real life and death drama, where the two find themselves battling unseen foes in their quest for safety and to find the concealed Daggers…
House Of Flying Daggers is an undisputable triumph of both acting and direction. Zhang Yimou’s signatory use of riotous colour makes the film an opulent reflection of the Tang dynasty, whose art work is typified by the type of grandeur that Zhang Yimou infuses this film with. The visuals themselves are so spectacular that they move as a piece of artwork, and continue to transcend the usual role of scenery in film. In this case, Zhang Yimou has achieved a remarkable harmony between scenery and plot, where the background becomes as important, if not more, than the story line itself.
Unlike previous martial arts films, House Of Flying Daggers provides the perfect melange of nail biting romance and heart stopping action. The kung fu throughout is gorgeously choreographed, and acts to enrich both the plot and setting. Moving effortlessly through the air, these blood-splattering, action packed encounters add to the sense of mystery and drama, as well as providing a visual thrill for the audience.
The use of sound throughout is extremely important, and masterfully heightens and intensifies the film experientially. Musical whiz kid Umebayashi is behind the score for House Of Flying Daggers. This sensitive soundtrack amalgamates eastern and western influences to provide a contemporary, yet in keeping take on traditional Chinese music.
The storyline is a little wanting, and the characters are superficial without much depth or development. The script is clichéd and a little predictable throughout the middle section, however, the final scenes make up for the lacklustre build up. Despite all this, the plot is not disappointing, as the main emphasis in the film is that of the visual and audio sensationalism, which more than compensates for any storyline flaws. The story, like that in an opera, is not crucial to the overall experience but merely provides a spider web framework in which Zhang Yimou weaves his phantasmagorical action-romance.
Interestingly, the foundation of a weak script does not equate to poor performances from any of the actors. Before taking on the role of Mei, Zhang Ziyi is rumoured to have spent two months preparation time with a young blind girl, in order to perfect and authenticate her performance. This would indeed be no surprise as her portrayal of the blind Mei is flawless. Zhang Ziyi brings an exciting dimension to the character of this gritty and determined young girl, by ensuring that Mei’s hard façade is penetrated by moments of endearing vulnerability and displays of passionate love, anger and hatred.
Zhang Ziyi’s ephemeral beauty juxtaposed with Xiao Mei’s serious martial arts skills makes this no-nonsense vigilante the deserved heroine of the film. Takeshi Kaneshiro’s performance of Jin brings this cheeky chappy to life. The womanizing Jin, however, is no match for Xiao Mei, and it must be said that despite his characteristically good acting, Takeshi Kaneshiro could not hold a torch next to Ziyi’s. Andy Lau proves himself to be a likely contender for the title of Daggers Heart throb, as he plays his role of the focused Captain Leo credibly, and adds a certain mysterious je ne sais quoi to the character.
This gripping love story, laced with espionage and betrayal, is a sure hit. Zhang Yimou’s glorious utilisation of colour, coupled with his ingenious take on audio sound effects, acts to showcase this directors true talent. The thoroughly convincing performances by the entire cast, especially Zhang Ziyi, will embroil you in this twisting tale, filled with double bluffs and surprising turns. House Of Flying Daggers is an absolute must see, that will act to either inspire or feed your kung fu film addiction, and is guaranteed to leave you gasping for more. HRP
Film: Farewell My Concubine
Running time: 171 mins
Director: Kaige Chen
Starring: Leslie Cheung, Fengyi Zhang, Li Gong, Qi Lü, Da Ying
Genre: Drama/History/Romance/War
Country: China/Hong Kong
Region 1 release.
Chen Kaige’s epic historical drama is one of the pillars of the Chinese Fifth Generation, the film movement that gave birth to directors such as Zhang Yimou and Tian Zhuangzhuang, as well as influencing scores of modern filmmakers. Spanning across five decades, the film captures many pivotal moments in modern Chinese history, such as the Chinese Civil War and the Cultural Revolution, told through the personal experiences of a group of Beijing opera performers.
The film begins in a turbulent 1920s China following the end of the Qing Dynasty. The main protagonist, Dieyi, is the son of a poor woman who is forced to give him away to a Beijing opera troupe. It is soon discovered that Dieyi possesses a birth defect - an extra finger, and in the opening scenes, the troupe master is seen brutally chopping it off with a cleaver. This symbolic castration creates a grim omen for Dieyi’s fate, foreshadowing the difficult reconciliation between his identity and sexuality.
Due to the traditional nature of Beijing opera, women are not allowed to act and so men have to play both male and female roles. Dieyi, because of his effeminate build, is forced to train as a ‘dan’ – a male actor who only plays female roles. Soon, a friendship quickly develops between him and another boy, Xiaolu, the male lead. However, conditioned by always having to play the female onstage, Dieyi begins to harbour romantic feelings for Xiaolu. Unfortunately, for Dieyi, his affections are unreciprocated, sending him into a period of depression and opium addiction.
The climactic end of the film is set during the Cultural Revolution, in which the performers all suffer a tragic demise as Beijing opera is attacked for being a bourgeois form of entertainment. Theatres go out of business and are burnt, and the actors are forced to perform new, political plays, promoting the work of the Communist Party.
Throughout this period, Dieyi and Xiaolu, the main stars of the theatre, are attacked and persecuted by their understudies, made to write self-criticisms and paraded through the streets as class-enemies by the public. The two friends are beaten and reduced to hysterical wrecks, forced publicly to betray one another in order to save their own skins. As the baying mobs encourage them to humiliate and denounce each other, lifelong friendships are torn apart as both men compete to reveal one another’s most shameful and bitter secrets from the past…
Such a traumatic ordeal is far from fiction. Director Chen Kaige has stated in interviews that such scenes are based upon his own experiences as a Red Guard during the Cultural Revolution. With such brutal depictions of the violence inflicted upon society by the Communist Party, it is of no surprise that Farewell My Concubine was banned upon release in mainland China.
Moreover, the film also questions the nature of political movements and revolutions against the interests of the individual. Throughout the decades, such is the beauty of the Beijing opera that it manages to survive the invasion of both the nationalist and Japanese armies. Indeed, in one particular scene, Dieyi is invited to perform for a group of Japanese generals, who sit captivated by his craft. It is only the communists, who regard Beijing opera as bourgeois and imperialist, that try to eradicate it. Ultimately, it seems, despite the promise of liberation, quality of life worsens under communist rule, and ancient traditions and art forms are systematically destroyed.
A number of issues regarding gender and sexuality are also raised in the film. Do gender roles define our sexuality, and what impact does society and upbringing have on it? For someone like Dieyi, continually referred to as “a girl” by his peers, and sexually abused from a young age, his private self begins to take own his onstage persona, conflating reality with fiction. In order to truly take on his role as a woman, Dieyi is forced to give up his masculinity in the name of theatre. Life imitates art, and performance thus becomes a defining part of his identity, in terms of his profession as an actor, and in his everyday life, where he must ‘act’ the part of a heterosexual man in normal society.
In some senses, the film can be regarded as a valentine to Beijing opera, which is portrayed as a cruel yet magnificent institution, with its performers having to sacrifice themselves for their art. The lavish costumes and settings are all shot in epic, breathtaking scenes that convey the full glory and excitement of the theatre. Dieyi, during his performances as the female lead, radiates a fragile, androgynous beauty, made all the more poignant by actor Leslie Cheung’s real life controversy surrounding his sexuality, and subsequent suicide.
By using the metaphor of theatre, Chen invokes the idea of performance onstage and in everyday life, creating a contrast between the public and private self. The onstage persona of the actor mirrors the public persona of the individual. Do we not all, to some extent, ‘perform’ a role in society, and keep a part of our true selves masqueraded from everyone else, be it our sexuality, desires, or ideology?
Farewell My Concubine is a tour-de-force of Chinese cinema that unearths the shattered and untold personal histories of a troubled modern nation, liberated and subjugated by itself all too many times. KW
Film: Confucius
Release date: 4th October 2010
Certificate: 15
Running time: 119 mins
Director: Mei Hu
Starring: Chow Yun-Fat, Zhou Xun, Chen Jianbin, Yao Lu, Zhang Xingzhe
Genre: Action/Biography/Drama/History/War
Studio: Cine Asia
Format: DVD & Blu-ray
Country: China
The first film about the life of the Chinese philosopher in seventy years is a lavish biopic starring one of the region’s most charismatic actors. We can expect a worthy effort from director Hu Mei, but does Confucius have anything more to offer?
As Kong Qiu - the man who would come to be known the world over as Confucius - nears the end of his time, he remembers the two major eras of his life. Firstly, his time as a minister in the court of the Kingdom of Lu, where he helps an uncertain leader navigate potentially deadly political waters (only for fates and people to conspire against him).
Secondly, moving away from court life, Kong Qiu and those who follow him will put their beliefs and philosophies to the test, travelling across the land to spread their teachings to the people. It is the ultimate trial of their conviction and faith…
For better or worse, the name Confucius conjures up certain words in one’s mind - philosophy, wisdom, humanity… While lacking nothing in the grace and reverence department, this film treatment of the great man’s legend lacks the vital qualities of his enduring lessons - it is light on philosophy, with only muddled wisdom to offer. And while Chow Yun-fat has the superstar quality to convince as a giant of Chinese history, the characters orbiting him are slight and merely functional. Confucius the film is a cold experience when it should be a life-affirming one.
Right from the off, the film tries too hard to ground itself in a recognisably cinematic scenario, presumably aimed at making Confucius the man ‘accessible’ to viewers. Its opening sequence is one of scattered focus, juxtaposing the stately conversation between Confucius (or Kong Qiu, as he is referred to in the film) and the Lu Kingdom’s ruler, with harrowing scenes of mass burial and slaughter. The latter scenes are starkly shot and played, with minimal melodrama, and the effect is genuinely unsettling. But the intended effect of the juxtaposed opening is unclear. Is this a hard-hitting life-as-it-was historical drama, or a more worthy affair about an early, crucial era in China’s development? The viewer never really knows.
On the historical front, the film has a lot of history to cover. The filmmakers throw up helpful subtitles, explaining characters’ names and ranks, as well as relationships with each other - but this is a distractingly modern device that undermines the film’s ‘epicness’. Even characters appearing in fantasy/hallucinatory sequences have subtitled name-tags, and the overall effect is to create the sense of an unconventional history lesson more than anything else.
But, while the film has a vast canvas on which to paint a vivid picture, too often that picture resembles the random sloshing of paint flicked in any direction. An introduction of a new ‘kingdom’ and new characters, with new political agendas, approximately forty minutes into the film is typical of the type of awkward gear-shifts director Hu Mei regularly makes throughout the near two-hour running time. The political and territorial wrangling might over-stretch the foreign audience who cannot fill in the historical gaps in the film’s first half.
And Confucius the film is one of two halves. The second half begins with a fantasy sequence - which opens with a stunning tracking/effects shot that changes the scenery around the protagonist - that sees Kong Qiu discuss his dilemma with Laozi, the sage of Daoism, the film shifts gears again, with Hu Mei taking us out of the stately courts and putting us on tour with Confucius and his disciples (for reasons that are never entirely clear). It may be that the film’s treatment of the great man - as every bit the giant - is designed to prompt the viewer to take his motivations as almost unknowable. And while the respect and reverence is understandable, one is often left wishing the film was the equal to the sum of its parts.
Without being so, the film leaves too many questions, all focussed on what could have prompted this production, beyond merely being the first movie to offer up a mythologized account of Confucius’s life and times? Are we to read contemporary messages in the protagonist’s railing against the tradition of burying slaves with their dead masters? It’s possible, but a viewer can just as easily ignore the messages.
Chow - his Mandaring dialogue dubbed - has the necessary charisma and presence to inhabit the giant of Chinese history that is Confucius, and holds the film together when it seems to over-stretch itself. Confucius’s moral oppositions to brutal court customs is powerful, while the political wrangling between the kingdoms of Lu and Qi borders on the tedious - but Chow sells everything with conviction. It is a testament to his innate cinematic intensity and charisma that, when his character does spout ‘Confucian’ sayings, they somewhat jar, seeming out of step with the man Chow has created elsewhere in the film.
Where the film is an unqualified success is in its visuals - Peter Pau’s cinematography rivals his work on Crouching Tiger, Hidden Dragon; the costuming by Yee Chung-man is peerless. The film also plays host to exemplary effects with - with very convincing 360-degree tracking shots around arrows in flight, and eye-catching pans and zooms across a mountain at approaching armies. Indeed, such is the high level of CGI in the film that one is left rather angry that they could not use the same techniques to render images of cock-fighting and tumbling horses. As the Chinese film industry continues its exciting expansion, it is hoped that such casual animal cruelty will fall away.
An earnest and solidly crafted biopic of an historical figure who has long deserved the big budget treatment. While somewhat forgettable, the film is a pleasing diversion - though one hopes Confucius will get the better film he deserves in the future. JN
Film: Kung Fu Hustle
Release date: 24th October 2005
Certificate: 15
Running time: 95 mins
Director: Stephen Chow
Starring: Stephen Chow, Xiaogang Feng, Wah Yuen, Zhi Hua Dong, Kwok-Kwan Chan
Genre: Action/Comedy/Crime/Fantasy/Martial Arts
Studio: Sony
Format: DVD
Country: China/Hong Kong
In 2001, Stephen Chow wrote, directed and starred in Shaolin Soccer, a fusion of sport, action and comedy unlike any other. The film took audiences by storm to become the highest grossing domestic film in the history of Hong Kong cinema. He then surpassed himself with 2004’s Kung Fu Hustle, breaking his own box office record and exploding into the consciousness of Western filmgoers and critics alike, with the film becoming the highest grossing foreign-language film of 2005.
Set in 1930s Shanghai, the film follows a lowly street mugger named Sing (Chow) and his hapless sidekick, Bone (Chi Chung Lam), who dream of the glamour and riches associated with becoming card carrying members of the notorious Axe Gang, who in a time of economic and social unrest, have risen up and taken control of the city. The residents of the slum area Pig Sty Alley, however, have so far been safe from the clutches of the gang, until Sing’s attempt to blackmail them while posing as a fully fledged member attracts some unwanted attention. Unbeknownst to Sing and the Axe’s boss, Brother Sum (Bruce Lee look-a-like Danny Chan), many of the Alley’s occupants are Kung Fu masters, determined to defend their home and drive the gang out of the area.
Not to be humiliated, the Axe Gang enlist the help of a pair of murderous musicians to dispatch the masters from the slum. After ridding Pig Sty Alley of their strongest defence, they grudgingly accept Sing as one of their own, using his lock picking skills to break out the world’s best killer, The Beast (Siu-Lung Leung), to finally claim the Alley for themselves. Little do they know that their abuse of Sing unlocks his dormant power, as he becomes ‘The One’ and brings the fight back to The Beast and the Axe Gang…
With Kung Fu Hustle, Chow has created one of the most unique martial arts films in memory, shamelessly fusing laugh out loud comedy with CGI enhanced combat. The film’s greatest asset is Chow himself, playing Sing with a mix of genuine emotion and superb comic timing, without overshadowing the supporting cast. His presence is an amalgamation of Buster Keaton and Bruce Lee, using his pitch-perfect script and stunning choreography to cement his place as the undisputed king of Hong Kong cinema. His grasp of cinematic language shines with his knowing references to Western pop-culture and films from The Matrix (as The Beast catches a slow motion bullet in his fingers) to The Shining (the jailbreak sequence when the sea of blood crashes down the hall). A memorable shot shows him attempting to mug his love-interest, mimicking the background poster for Fred Astaire and Ginger Roger’s Top Hat, proving Chow’s interest in Western cinematic tradition.
His supporting cast also prove to be indispensible, with many members returning from Shaolin Soccer. Danny Chan’s Brother Sum is played as a sociopathic psycho, seething with unpredictability, going from shooting a woman in the back to strutting through an impromptu dance number - the perfect foil for Sing’s charm. Bone, on the other hand, is lovable and hapless, like a Chinese Nick Frost. These central performances add to the film’s broad appeal, providing audiences with plenty of easily identifiable, colourful characters.
The 1930s setting allows Chow to draw from the aesthetic conventions of Hollywood cinema. The Axe Gang’s sharp suits and nightclub lair are all very reminiscent of Hollywood gangster films of the era, creating an interested juxtaposition with the martial arts. The music is swing and jazz influenced, fuelling the inspired setting. Chow uses a very rich palette of colours as signifiers for the narrative, with the Axe Gang’s club bathed in red, and the Alley constantly under a blue sky. The bad guys wear black and dark colours mirroring the white of the Alley’s residents, exemplifying Chow’s use of traditional cinematic conventions.
The whole film is heavily stylised, the tone seamlessly switching from dark and violent to a live-action cartoon (especially in the Roadrunner inspired chase sequence). The combat is outrageously over the top, utilising wire work and CGI to create humanly impossible scenarios. The fight between the Alley’s three masters and the musician hit men is especially spectacular, as the harpists fire sonic projectiles from their instrument which manifest as swords and eventually as a ghostly undead army. There is a complete breakaway from standard martial arts tradition, with Chow really playing with the genre to create something truly unique, and, of course, riotously entertaining, without the constraints of physical ability. He has admitted that he is by no means a martial arts master, but uses his (and his cast’s) nevertheless impressive skill and performance enhancing special effects to great effect.
Unfortunately, some of the computer generated effects look slightly dated (the film is only six years old) and, on occasion, draw the attention away from the action. One gag in particular, where Sing is bitten on the lips by poisonous snakes causing them to massively swell up, falls flat mainly because of the poorly executed CGI. This is, however, a very minor flaw, and one that can be easily ignored by the class and entertainment of the rest of the film.
With tongue firmly in cheek, Chow has created a fusion of genres the likes of which is rarely seen. Cartoon violence and physical comedy combine with over the top martial arts action to create a cinematic experience which fuses Eastern sensibilities with Western pop culture, proving that the language of cinema really can transcend cultural boundaries and speak volumes to audiences all over the world. Wildly entertaining and an insane amount of fun, Kung Fu hustle is a must-see for anyone, not just fans of martial arts or Eastern cinema. RB
Film: 24 City
Release date: 27th September 2010
Certificate: U
Running time: 107 mins
Director: Zhangke Jia
Starring: Jianbin Chen, Joan Chen, Liping Lu, Tao Zhao
Genre: Drama/Documentary
Studio: Drakes Avenue
Format: DVD
Country: China/Hong Kong/Japan
Part documentary, part fiction; 24 City gained international recognition when it was nominated for the Golden Palm at Cannes in 2008. Jia Zhangke mixes interview with short fictional scenes to tell his story of commercialism in modern day China.
24 City takes place in the city of Chengdu, where the state owned Factory 420 has been sold to a private company who plan on turning the site into a luxury apartment complex, which will be called 24 City.
The film centres on five interviews with three generations of people for whom the factory has played a huge part in their lives, serving not only as the place where they worked, but where they lived, were educated, got married and raised families respectively.
Interspersed with these interviews are four short fictional scenes (still filmed in the documentary format), which show characters either working in the factory in its final days of production, interacting with each other in the living areas around the factory, or looking around the desolated remains of the building before it is razed to the ground to make way for the apartment block…
Through both of these techniques we learn a great deal about how the factory has affected the lives of those who lived and worked in it, and how it will be missed by many.
The trickiest thing about making a documentary film with a subject matter that is specific to one community living in one city in China is to make it engaging to those watching to whom the issue is not pertinent. This is something that Jia Zhangke addresses from the very opening of 24 City, in which we witness the factory in production, before seeing the ceremony in which ownership of the factory is handed over. So beautiful and powerful is the music and Zhangke’s framing of each shot that, even before we reach the first of the interviews (the emotional core of the film), it is clear that we are dealing with the end of an important era for both the factory workers and their families, and for Chinese industrialism as a whole. From this, we are drawn into the story of these ordinary people, many of whom have lived extraordinary lives, and for all of whom Factory 420 has played a huge part in their lives.
The interviews themselves are carefully selected to give a broad scope on the kinds of people who have lived and worked at the factory over the years, and also to show the way the factory has affected people over the generations for which it has been open. The passage from older factory workers who toiled daily on the factory floors to the children of workers who have more glamorous and leisurely jobs is an indication of the way China as a whole has developed over the years, which helps to make clear why the closure of a factory in favour of an apartment complex is an inevitable part of the country’s progress. They range also in tone, as some reflect happily on their memories from the factory, such as the television presenter who realised from a young age that he was not cut out for factory work. Others are more solemn in tone and truly harrowing, such as a woman who describes the moment she was forced to leave her son behind after he had gone missing on a stop-over as she made her way by boat to Chengdu. These shifts in tone and subject matter keep the film moving along nicely and give a good indication of the huge scope of different stories that have taken place in relation to the factory.
One drawback of the film is that it is, at times, not as concise and to the point as it should be. For example, we are afforded long shots of people looking into the camera, which last for a surprisingly long amount of time, and occur a little too frequently. Zhangke is trying here to make the film seem personal by forcing us to confront the people who will be affected by the factory’s closure face to face, but the interviews are affective enough that there is no need to artificially create an empathy that, for the majority of viewers, will occur naturally. The scenes in between interviews are far more effective when we see the contrast between the factory in full production and its barren, empty hallways and shattered windows in the days before it is brought down. Through what we have learned in the interviews, there is a real feeling in these shots of the history that has taken place in the factory, and each shot is carefully selected in order to bring out the strongest possible response from the viewer.
Wonderfully shot, engaging and deeply affecting, 24 City ticks all the right boxes for documentary film making. While Jia Zhangke is, on occasion, guilty of trying to force us into an emotional response, he more often than not gets it right in terms of tone and presentation, providing us with documentary which is both entertaining and interesting. PK
Film: Connected
Release date: 20th September 2010
Certificate: 15
Running time: 110 mins
Director: Benny Chan
Starring: Louis Koo, Barbie Hsu, Nick Cheung, Ye Liu, Fan Siu-Wong
Genre: Action/Crime/Thriller
Studio: Cine Asia
Format: DVD
Country: China/Hong Kong
Connected is the latest film from Director Benny Chan - and evidence that, while the American’s may enjoy cherry picking the finest Asian movies for remake, it’s not all one way traffic.
Bob’s simply isn‘t happy with his life. He’s an amicable, friendly sort, trapped in the decidedly unfriendly occupation of debt collector. He’s also a single father whose sister is immigrating to Australia with his son, thinking him unfit.
Faced with immense pressure to be a better dad, a better brother, a better worker and an all round better person, Bob’s life seems empty and purposeless. That is until his phone rings unexpectedly. On the line is a woman, Grace, who claims that she and her daughter are the victims of a kidnapping. Is it a poor practical joke, or is Bob genuinely her only lifeline?
With the police quickly dismissing the claims as a joke in bad taste, Bob’s instincts tell him otherwise. He realises he may just be the only one who can prevent the victims suffering a painful and undeserved death. The question is, with the weight of the world on his shoulders, and the problems he already faces, will Bob put his own welfare aside and risk everything, including his son, for two people who may not even exist...
Connected is a rare beast indeed. One of the tiny minority of remakes that are better than the original source material on which they’re based. That being said, the American original - Cellular - was no masterpiece. It was a mildly diverting show with an interesting, original central idea - two strangers linked only by a phone call which, for one, presents a disturbing distraction from life, and, for the other, a last chance at survival.
Benny Chan’s has airlifted the concept and transported it to the bustling metropolis of Hong Kong. The change of location is only the beginning as Chan also opts to change the central characters, as well as trying to provide a more realistic story arc. In Connected, Cellular’s Ryan (a beach bum slacker type) is replaced by Bob (played by Louis Koo), who, to all intents and purposes, comes across as your average working adult.
Bob’s employment as a debt collector serves as an easily accessible insight into the world he inhabits. In one early scene, smartly dressed in his shirt and tie, we see Bob watching as a gang of hired thugs threaten a mother and her two young children over an unpaid family debt. As he helplessly clutches his briefcase while his ‘colleagues’ proceed, it is obvious that here is a man with a conscience - a man who is ill suited not only to his job, but to the world he lives in.
As mentioned, he is also a single father, and Bob is struggling to do right by his son almost as badly as he is in his own life. The day Bob gets the phone call from Grace Wong, claiming that she has been kidnapped and needs his help desperately, is the same day his son is due to move to Australia and disappear from his life altogether. The central character’s readiness to ignore his own problems and set out to be a hero was definitely one of the major weaknesses of Cellular. But Benny Chan, who also co-wrote this adaptation, has obviously considered this in his version. Why would anyone believe this stranger and risk his own life to save her? Chan answers this question: skilfully setting Bob up early on as the sort of person who couldn’t ignore Grace, while, at the same time, showing us a chain of events that explain why he’d reject the notion that she’s an impostor.
Connected also represents a slight change of pace for a director whose name is synonymous with big-budget action movies. For one thing, there are fewer action set-pieces here than in the likes of New Police Story. Well aware that Bob is not an action hero, Chan instead opts to crank up the tension, as well as adding some fairly dark humour, as time ticks away for both Grace and Bob.
Mr. Chan has also toned down the emotional histrionics which were arguably the most cringe worthy aspects of more recent movies like Robin B. Hood. While the single father aspect of Bob’s life is inevitably touched on, it is never excessively mined, so, for precisely this reason, it is all the more affecting.
Most of the credit for this audience engagement must go to charismatic star Louis Koo. He turns in a fine performance as the ordinary man thrust into an extraordinary situation that calls on every ounce of his courageous instincts. The knowledge that Koo performed many of his own stunts lends his portrayal of Bob an even greater level of credibility and honesty.
Connected is probably the first major Chinese remake of a Hollywood movie. As such, it ticks all the boxes a remake should. While fairly faithful to the source, it recognises and addresses the weaknesses the original displayed. While some would say it’s no great achievement to improve Cellular, Connected is an engaging and enjoyable thriller that does just that. Besides, isn’t it refreshing to learn that the Asia to Hollywood gravy train makes the occasional return trip? PD
Set in the war period in China between 476 BC – 221 BC, Little Big Soldier tells the story of a soldier (Jackie Chan) and a general (Wang Leehom) from opposing states (Liang and Wei), who have very much opposing views on the war and world.
Jackie Chan - in one of his finest performances - plays the soldier from Liang, who survives the war which had left most men killed, by playing dead until the war was over. Lee Hom Wang, who plays the general from Wei, survives the war, but would rather be dead after the bloodshed.
A painful yet comical journey commences when the soldier decides to abduct the downtrodden general and bring him back to his state in the high hopes of collecting a reward. Taking the general home was not as easy as expected, however, as the general attempts suicide many a time, but the soldier insists on saving him for his huge reward - even if that means endangering his own life.
Film: Little Big Soldier
Release date: 1st October 2010
Certificate: 15
Running time: 96 mins
Director: Sheng Ding
Starring: Jackie Chan, Wang Lee-hom, Yoo Seung-yun, Lin Peng, Xiao Dong Mei
Genre: Action/Adventure/Comedy
Studio: Cine Asia
Format: Cinema
Country: China/Hong Kong
Film: City Of Life And Death
Release date: 27th September 2010
Certificate: 15
Running time: 135 mins
Director: Chuan Lu
Starring: Ye Liu, Gao Yuanyuan, Hideo Nakaizumi, Wei Fan, Yiyan Jiang
Genre: Drama/History/War
Studio: High Fliers
Format: DVD
Country: China/Hong Kong
Writer/director Lu Chuan’s film, City Of Life And Death tells the whole harrowing story of the Massacre at Nanking in austere black-and-white, leaving absolutely nothing to the imagination.
For many, World War II began in 1939, but for China the war came to its doorsteps a lot earlier. City Of Life And Death takes place in 1937, a time during the height of the Second Sino-Japanese War. The Japanese army have just captured the then capital of China, Nanking, and continue to control the city for a further six weeks.
The film depicts the times and troubles of the people of both the Japanese army and the Chinese and foreign refugees left stuck in the ‘Safety Zone’, set up by well known historical figure John Rabe. This is done through a number of different stories from a wide range of sources, some historical and some entirely fictional, including a Chinese soldier leading the last efforts against the invaders, a schoolteacher turned John Rabe’s secretary, and a Japanese soldier led to question his country’s actions…
When it comes to Asian films about the war, they have a tendency to attempt making amends or try to deal with their or other countries’ atrocities during the war - City Of Life And Death also keeps its thoughts and theories on the matter solidly within the rules of that said trend. Although a Chinese/Hong Kong film about one of the worst events to occur before the war, the filmmakers still give Japan a voice of reason through the Japanese soldier who questions the situation around him. The soldier is played by Hideo Nakaizumi, a new, young and upcoming talented actor, in the end chooses to defy his country and their intentions through some radical actions.
City of Life and Death is without a doubt one of the most shocking insights into an event which could be considered overlooked or untold. Some of the film’s scenes will shock audiences to a degree where they may not wish to continue watching. Although the film’s content may be off-putting to some audiences, and indeed quite hard to stomach, if seen all the way through City Of Life And Death’s resolution gives viewers an intriguing and stimulating viewpoint from which they are able to make their own conclusions, rather than being taught.
The use of handheld cameras during the film’s battle situations, and moments of panic and chaos are used extremely effectively. Much like with any war film or indeed any film with a car chase or fight scene, the handheld effect gives the viewer an immersive feeling of actually being there. Its use within City Of Life And Death, which although giving the viewer that same feeling, is also used in stark contrast with the scenes that follow the action sequences. Scenes such as the executions which almost immediately followed the battle scene, switch to steadicam, and use long lengthy shots with very few cuts or edits to elaborate on the horror and anticipation of what’s to come.
Another interesting technique used in the film is the director’s choice to shoot the entire film in black-and-white. Much like other feature films about war, this gives the story a simplicity which then, in turn, allows the audience to focus fully on what’s occurring. The lack of colour also hides a great deal of the physical violence and blood, which, if uncensored, would perhaps turn many audiences stomachs. The black-and-white contrast also gives the film’s message a stark and bleak tone, which is completely unaltered by bright colours or flashy exciting lighting. Instead the message comes across in its bare essentials, leaving nothing to distract the imagination.
Again to illustrate the tone and underlying message of the film, City Of Life And Death uses very little dialogue and, at times, sequences can continue for lengthy periods without a word. The lack of dialogue, which although enables the viewer to concentrate wholly on the horrific circumstances the people of Nanking had to endure, it also seems unnecessary to have any words at all. In fact, the entire film could have run completely on actions and had the exact same impact.
The film’s powerful images are either artistically beautiful or ruthless, unapologetic and astounding. City Of Life And Death’s most powerful images are of actions and reactions. The reactions are told through the facial features of a various people of all ages and, in particular, that of each character during their individual story.
The acting within the film is unfaultable and superb, and performances of particular merit go to Ye Liu who plays the Chinese soldier caught by the Japanese and sentenced to be executed. Ye Liu, who only speaks a handful of words, performs an intense and truly intriguing insight into the mind of a man brought to the edge having exhausted all abilities and outlets to resist becoming a victim.
City Of Life And Death is a powerful, outstanding and severe account of the stories and tales told through the victims and the oppressors during the massacre of Nanking. The film attempts to deal with the horrific and inhumane circumstances that the remaining people of Nanking had to endure. LS
