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Film: Ong Bak Trilogy
Release date: 11th October 2010
Certificate: 18
Running time: 312 mins
Director: Prachya Pinkaew, Tony Jaa, Panom Yeerum & Panna Rittikrai
Starring: Tony Jaa, Supakorn Kitsuwon, Dan Chupong, Sarunyu Wongkrachang, Petchtai Wongkamlao
Genre: Action/Adventure/Crime/Fantasy/Martial Arts/Thriller
Studio: Optimum
Format: DVD
Country: Thailand
Not since 1991 and Jet Li’s Once Upon A Time In China has a martial artist broke through with the sort of critical and public appreciation that Panom Yeerum enjoyed with his debut Ong-Bak. Although now known as Tony Jaa, to better associate himself with international audiences, the Muay Thai and Tae Kwon Do specialist went on to produce two more Ong Bak features. No-nonsense, action films that attempted to make his name synonymous with the likes of Bruce Lee and Jackie Chan - the influential kung fu stars he grew up admiring.
Ong-Bak (2003)
As Ting (Tony Jaa) proves himself as the best athlete and martial artist in the reclusive village of Ban Nong Pradu, Thailand, a gang from Bangkok arrive wishing to purchase the sacred Buddha icon (named Ong-Bak) that the village has possession of. When the villagers refuse, claiming the statue is worth more to them than any monetary value, the gang steal the artefact in the dead of night, leaving Ting as the best possible means of reclaiming it.
Sent into the country’s capital, Ting finds himself awed by the concrete jungle and the attitude of the cities inhabitants, in particular that of his cousin Humlae. Humlae, once belonging to the village has dyed his hair blonde and, with his female friend Muay Lek, has fallen in with a bad crowd of drug dealers, street gangs and illegal betting dens.
Upon discovering that the Ong-Bak statue is now in possession of a crime lord, Ting and his two new friends must enter the dangerous realm of the kingpin’s underground fighting den to earn the chance to win back the village’s prize possession…
An unabashed action fest, director Prachya Pinkaew shoots a grim, sepia-toned tale that while not necessarily unique in the plot - designed to set up the action, and aimed specifically to impress the viewer with the style and prowess of Jaa’s Muay Thai skills. The direction is impressive and belies the relative cinematic inexperience of Pinkaew as he smoothly cuts the high-octane carnage together. Doing so in an immensely slick manner, without over loading the viewer with strobe-like interchanges of camera angles, Pinkaew always manages to keep choreographic perspective, meaning the audience can follow and enjoy the martial arts sequences, which is paramount in a film of this genre.
However, the competent direction and actually engaging storyline aside, it would be naïve not to think of this an immense juggernaut of a vehicle for Jaa’s ability, who co-choreographed the action. Tony Jaa undertakes all the stunt work himself throughout the film, as all self-respecting martial artists do, but what sets Ong-Bak apart from its contemporaries is the wireless ‘high wire’ acts. That is to say Tony Jaa pulls off some remarkable moments, from flying knees to the face to running across the shoulders of countless henchmen, without any assistance - putting his body on the line with every stunt.
It is this raw unadulterated feeling of danger and authenticity that makes Ong-Bak such an entertaining rollercoaster ride. Not simply this, but with other prominent martial artists like Jet Li and Jackie Chan having migrated to Hollywood, Jaa gives this genre’s enthusiasts a new hero to champion.
Ong Bak 2: The Beginning (2008)
Initially suspected as being a sequel, it was announced Ong Bak 2 was not simply a prequel to Ong-Bak, but to be set five centuries previous. Set as an historical epic with an injection of fantasy, Tony Jaa plays Tien, the energetic and enthusiastic son of a noble lord and warrior.
Despite desperately wishing to emulate his father, he finds his natural unyielding spirit curbed - instead of being taught martial arts, he is unwillingly forced to learn dance. However, his life is thrown into ruins as a treacherous warlord, who is seeking to enthral all of Asia under his tyrannical rule, sends assassins to massacre his rivals.
Escaping the bloodshed with a desire for revenge burning deep in his heart, Tien, while searching for his persecutors, is captured by slave traders. After punishment from his captors, which includes an encounter with an oversized crocodile, Tien is rescued by a group of outlaws who promise to train him in the ways of various martial arts from across the Asian continent so that he may exact his revenge on the despotic lord…
Unlike with the initial instalment, the story reneges on its gritty realism for a showy troupe into the annals of Thai history. Tony Jaa, not content with being the film’s acting protagonist takes the helm behind the camera, and perhaps this can be attributed to some of the misgivings the viewer may have while watching this peculiar numerical sequel and historical prequel.
For all his capabilities as a martial artist, his qualities as an actor are still questionable, and it seems as if the director is aware of this fact. The dialogue in Ong Bak 2 is notably absent, and, as a result, it makes it a difficult task to further the plot, but, more importantly, difficult to associate with what little development Tien goes through. It is also worth noting that any ‘development’ is undertaken by the actor playing Tien’s younger self, as opposed to Mr. Jaa himself. With such limited dedication to character, it makes the revenge saga seem unfortunately contrived, leaving the viewer mentally tuning out, simply awaiting the next action sequence.
Accompanying Tony Jaa in the co-directors chair is the co-choreographer from the first Ong-Bak film, so it is unsurprising that a film with such little verbal communication finds its efforts focused on some impressive martial arts sequences. As always, Tony Jaa is exceptional in his leading role as a glorified stunt actor, and the addition of more varied fighting styles and weaponry from across Asia creates more diversity and, in places, more excitement than its predecessor.
While Ong Bak 2 is a technically superb in its fighting creativity, undoubtedly from the co-directors’ dedication to their martially artistic passion, it suffers from a severe lack of attention and disregard to something as integral as character development. Ong Bak 2, unfortunately, proves to be less of a film than its forerunner, and more of an exercise in ‘showing off’ Tony Jaa’s undeniable talent.
Ong Bak 3 (2010)
Following immediately from the conclusion of the previous instalment, Ong Bak 3 starts with a captured Tien being tortured and beaten by his captives. The imprisonment is brutal as he is struck repeatedly with kendo sticks and choked with bamboo, on top of a plethora of human physical abuse.
To prevent any further attempts at escape, the bones in his arms and legs are broken, and he is prepared for execution by Lord Rajasena, the man responsible for his family’s death. However, Rajasena is experiencing his own problems, and disposing of Tien is proving to be the least of his worries. It transpires a curse has been placed upon the king, and he must call upon the dark powers of the shaman Crow Ghost to aid him.
However, the Crow Ghost himself has his own motives for abetting the king, while Tien, in his continuing goal to seek revenge for the death of his father, finds his fate increasingly linked to the carved sculpture of an Ong-Bak head…
The issues from which the second film suffered are only exacerbated in the concluding instalment. While it would be amusing to entertain the prospect that individuals watched Tony Jaa films for award-winning scriptwriting, the increasingly disconnected nature of the story, and undeniable lack of cohesion and conclusion in the plot’s progression is alarming. The introduction of irrelevant characters and some questionable plot devices, which are highly ill designed, can only be endemic of the increasingly isolated control of the film’s production, directing and writing Tony Jaa and Panna Rittikrai are enjoying.
What proves to be the film’s downfall is that which you normally expect to be the saving grace of a Tony Jaa film: the action is bizarrely lacking. Jaa himself doesn’t feature in any combative form until deep into the film, leaving the action burden to be entirely shouldered by an amicable Dan Chupong, who does well to cover in Jaa’s absence - but his is not the name that headlines the poster.
Tony Jaa was reported as having severe mental and financial issues during and after the filming of Ong Bak 2, and the problems seem to have affected him in quite a noticeable way. His usual trademark death-defying, highflying sequences are disappointingly absent, and it wouldn’t be overly critical to state that there isn’t a single jaw-dropping exchange in the entire film. The choreography in the wider scheme of things isn’t terrible, but in the context of it being a Tony Jaa film, it comes across as being simple, repetitive and lamentably mediocre.
Ong Bak 3 just about concludes this two-part saga in a way that is befitting with the overall vibe of Tony Jaa’s work, even if there is a slight disturbing feeling that this was created to recoup previous costs, more than create a climax.
Given Tony Jaa has recently joined a Buddhist Temple to live the life of monkhood, this film may be the last, for a while, in which you’ll be able to view his martial artistry – unfortunately, it doesn’t leave viewers eager for a possible return to filmmaking.
The Ong Bak Trilogy is less a collection of winding plot twists and intense character relations and more of a rollicking compilation of Muay Thai, weaponry and moments of wireless breathtaking. While the quality of the cinematic work decreases the further into the trilogy we venture, there are still plenty of thrills, spills, bone-crunching and blood-spilling to intrigue the most ardent martial artist aficionado. When Jaa fails it only infuriates because he is so talented. BL
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
Wong Fei Hung (Jet Li) is a legendary kung fu master, waging a one man war against criminals and corruption in the Boxer Society of turn-of-the-century China.
Wong unknowingly opens a martial arts school right next to a notorious brothel, only to come across a kidnapping plot. Much fighting ensues.
Film: The Last Hero In China
Release date: 25th October 2010
Certificate: 15
Running time: 90 mins
Director: Wong Jing & Yuen Woo-ping
Starring: Jet Li, Sharla Cheung, Dicky Cheung, Chan Pak-cheung, Leung Ka-yan
Genre: Action/Comedy/Martial Arts
Studio: Cornerstone
Format: DVD
Country: Hong Kong
Film: Ong Bak 3
Release date: 11th October 2010
Certificate: 18
Running time: TBC mins
Director: Tony Jaa & Panna Rittikrai
Starring: Tony Jaa, Supakorn Kitsuwon, Dan Chupong, Sarunyu Wongkrachang, Petchtai Wongkamlao
Genre: Action/Martial Arts
Studio: Optimum
Format: DVD & Blu-ray
Country: Thailand
Tony Jaa returns in the eagerly anticipated follow up to Ong Bak 2. Jaa’s confused prequel to the original Ong Bak divided audiences and nearly ruined his career; does this threequel redeem both Jaa and the Ong Bak saga? Or is it another missed opportunity.
After his arduous journey to avenge the death of his father, Tien is captured by Lord Rajasena and sentenced to death. Undergoing a series of horrific tortures, Tien is broken and crippled until his death seems inevitable. However, Tien is rescued by Master Bua and begins a long physical and spiritual recovery.
Meanwhile, Lord Rajasena is slowly going mad from a curse placed on him after he seized power of the province. He seeks refuge from the Crow Ghost, who promptly refuses, kills the evil lord and usurps his throne.
Holding a personal grudge against Tien, the Crow Ghost eagerly await’s the warrior’s recovery so they can do battle for the final time…
In 2003, Ong Bak exploded onto the martial arts scene with all the severity of an elbow to the face. Arriving in a time when wire-fu was the chosen method for dust ups in mainstream action cinema, it heralded a return to the brutal realism that made eastern fight films so popular in the first place. A paean to the old school, Ong Bak also introduced us to the wonderful Tony Jaa, who, in his own unassuming way, assured himself a place in the martial arts pantheon.
A sequel followed in 2008, with Jaa in the director’s chair. Although Onk Bak 2 suffered from a turbulent production that nearly ended Jaa’s career, it remains a solid follow up despite its many flaws - and is by no means the disaster many paint it to be.
Jaa returns in Ong Bak 3 to conclude the story of Tien, who, for all intents and purposes, is a spiritual ancestor of Ong Bak’s Ting. So, is this threequel as messy and self indulgent as its predecessor? Unfortunately, the answer is a resounding yes. Ong Bak 3 marks itself as the weakest in the trilogy, due to its confused story and horribly uneven pacing.
The second film in the series, while not as bone crunchingly brutal as the first, still boasted some bravura fight sequences to distract from all the muddy period detail and karmic plot contrivances. The big mistake with Ong Bak 3 is that it dials down the fighting even further, to make room for Tien’s redemptive character arc.
Starting the film as a tortured captive, Tien is then rescued and spends the next hour recovering from his ordeal. Along the way he has numerous spiritual crises, contemplates suicide, grows a number of fetching beards, and generally falls over a lot. The recovery arc is all well and good for a martial arts epic, especially one whose characters the viewer is already heavily invested in, but when it’s as long and drawn out as this, there is danger of alienating the core audience.
Thank god then for Dan Chupong’s energetic performance as Crow Ghost. A minor adversary for Tien in Ong Bak 2, Crow Ghost graduates to fully fledged villain in the threequel. It’s his supernatural displays of fighting prowess that manage to keep the films latter half from bottoming out - many will find it tempting to fast forward past all the beardy soul searching and get to the next Crow fight. Yet even Chupong’s performance suffers from a lack of narrative clarity. Why does Crow Ghost go from creepy cave dweller to power hungry tyrant in the blink of an eye? Why does he have such a vicious vendetta against Tien? When he assumes power of the throne, why does he take off that fetching black cloak? All of these questions and more are left unanswered; it’s almost as if Jaa and Rittikrai didn’t feel the need to explain themselves, deciding instead to just bombard us with a series of random events.
It seems tradition in Tony Jaa films now for the film’s final act to be one giant primal scream from the pint sized fighter - it’s just unfortunate that the climactic brawl at the end of Ong Bak 3 is tarnished somewhat by the previous eighty minutes. A clever stylistic twist means that we get two endings for the price of one but even that can’t seem to sate after such an arduous build up. Ong Bak 3 is ultimately a well executed failure - perhaps Jaa should stick to being in front of the camera for future projects.
Tony Jaa presents us with another lovingly crafted misfire, replete with Buddhist mysticism and themes of redemption, but sadly not much else. There are fights, and they are impressive, but nothing here compares with the magisterial action present in the first film. Ong Bak 3 isn’t really a bad film, it’s just a bad martial arts film. KT
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: The Legend Is Born: Ip Man
Release date: 20th September 2010
Certificate: 15
Running time: 100 mins
Director: Herman Yau
Starring: Sammo Hung, Yu-Hang To, Dennis To, Siu-Wong Fan, Yi Huang
Genre: Action/Biography/Drama/Martial Arts
Studio: Metrodome
Format: DVD
Country: Hong Kong
The Japanese are coming - and they want to steal your kung fu! China's only hope is a legend in the making in this semi-autobiographical account of the originator of Wing Chun, mentor to Bruce Lee, and all-round tough guy, Ip Man.
Set throughout the early 20th century, Ip Man focuses on the life of our eponymous hero as he grows from a promising student into the heir apparent at a school for martial arts. Along the way, he ably demonstrates his considerable skill in numerous conflicts, which end poorly for everyone involved - but him.
The story begins with Ip Man and his adopted Japanese brother Tin Chi being enrolled into the school by their father who immediately takes off and leaves them under the supervision of an old Wing Chun master - a master who promptly dies and makes way for the slightly younger Cheung Wing Shing (Huang Yi).
It rapidly becomes clear that with Japanese incursions into Chinese culture becoming more and more common, the leaders of the association which determines who may be taught Wing Chun must decide whether to accept the approaches of the shady Kitano. With Tin Chi and Ip Man potentially caught on opposite sides of the conflict, both men must come to terms with not only external threats to their order but also the possibility of internal changes that threaten to undermine that which they have been taught since childhood…
Right off the bat, it's important to reiterate that Ip Man is semi-autobiographical. This is important because often enough such films live or die by how well they retell the protagonist's story – oscillating between mind-blowingly amazing and bombastically stupid (see: anything biographical that Mel Gibson has ever done). One of Ip Man's greatest flaws is that it seems too embarrassed to dramatise any of its heroes exploits, but will happily use piece-meal wire fighting in order to establish some kind of dynamic. This leads to the story of an obviously incredible man being told in an incredibly mundane fashion, with moments of incredibly misplaced fantasy simply confusing matters.
From the start, Ip Man delivers an inconsistent message, and this is only compounded by the frequent leaps that are made from scene to scene. Often characters make assertions that either assumes the watcher knows something that has not been explained, or explains something that bears no relevance to the rest of the film. Never is this more evident than when Ip Man (Dennis To) goes to find some medicine for a man who he had fought and hurt, at which point he describes his victim as a 'friend'. Problem being that he had not met the man before and never mentioned him again, so in the end all this (undoubtedly factual) encounter served to do was highlight the ham-fisted segway the film had made into a section where the protagonist learns a new and revolutionary form of Wing Chun; something which remains a key concept for about twenty minutes before also being forgotten.
Indeed, if Ip Man, as a whole, is a forgetful film then the directing, writing, editing, acting and even fight choreography could charitably be described as absent-minded. Most of the cast seem to have left their commitment at home for this picture, and it really shows as scene after scene begins to be dominated by poor directorial choices, worse acting, and fight scenes that make no contextual sense and are – at best – uninspiring. The worst thing about this is twofold: firstly that this is a martial arts film, and it shouldn't take a genius to work out that boring fight scenes might be problematic for a film of that genre; and secondly that being semi-autobiographical means that some of these fights actually happened, and actually made sense at some point, yet somehow director Wilson Yip managed to shift them into the realm of nonsensical make-believe.
Ultimately what proves to be the most disappointing thing about Ip Man is the sense of wasted potential; wasted ideas, wasted talent and – most importantly – the waste of a great story in what can only be described as a bad film. Poor acting, bizarre editorial and directorial choices, a hokey script, and fight scenes that rarely break a figurative sweat make Ip Man, above all else, a waste of an hour-and-a-half. JD
Jackie Chan stars as a young man, out to avenge the death of his father, who learns kung fu from a Shaolin master. Many action-packed fight sequences follow (all directed and choreographed by Chan).
Film: 36 Crazy Fists
Release date: 27th September 2010
Certificate: 18
Running time: 88 mins
Director: Chen Chi-hwa
Starring: Jackie Chan, Tony Leung, Michelle Mee, Lau Chan, Cheng Chiang
Genre: Action/Comedy/Martial Arts
Studio: Cornerstone
Format: DVD
Country: Hong Kong
True Legend is the extraordinary journey of a man, a martial arts hero, whose greatest dream is to create a unique school of martial arts.
All his life, Su Can has been pursuing the summit of martial arts. There are two things he holds dearest to his heart: the dream of creating a unique kind of martial art that will pass on to generations; and his beloved wife. Su has a happy family and his wife is the joy of his life. But owing to a twist of fate and his own stubbornness, Su’s perfect life begins to fall desperately apart.
On the surface, Su now appears as a crazy beggar getting drunk every day. He wanders from town to town, becoming a man without any purpose in the eyes of others. But all through his spiritual exile, his dream for the highest peak in martial arts is still alive. The harsh conditions of life have not dampened his determination to perfect his skills. He conjures up scenes where he combats the legendary God of Wushu, with whom he refines his skills and achieves a peace of mind.
Meanwhile, the Heilongjiang Province, where Su resides, falls under foreigners’ rule. One day a crisis happens that threatens the life of his young son – the only person Su still cares about, and his last remnant of human hope. At the critical moment, the flame of life is re-ignited in Su. He lets out the utmost strength that has lay dormant in him during his devastated time, and it becomes the strongest school of fists that the martial arts world has ever known.
Film: True Legend
Release date: 24th September 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: Cinema
Country: China
Film: The Legend Of Fong Sai-yuk
Release date: 6th September 2010
Certificate: 15
Running time: 126 mins
Director: Corey Yuen
Starring: Jet Li, Lung Chan, Adam Cheng, Josephine Siao, Michelle Reis
Genre: Action/Comedy/Martial Arts
Studio: Cine Asia
Format: DVD
Country: Hong Kong
Jet Li stars as the title character in this action romp from venerable film studio Golden Harvest pictures. Made in 1992, this Cory Yuen helmed production has been restored and repackaged for Cine Asia in partnership with American Far East action label Dragon Dynasty.
The movie opens with paranoid Manchu Emperor and oppressor of the Han Chinese having a nightmare where he is killed by the fabled rebel Red Flower Society. He sends out his Governor (Wen Jor) to retrieve a list that tells of all the rebels active in the country. This heavy, ominous opening is quickly tempered with a fun introduction to our title character and hero.
Fong Sai-yuk (Li) is a talented martial artist who, with his friends, likes to get into fights and cause mischief to upset Tiger Lu, a businessman who has bought up most of Fong’s hometown of Guang Dong.
Whilst falling in love with Ting Ting (Reis), the daughter of Tiger Lu, Sai-yuk and his equally tough yet beguiling mother (Siao) find themselves fighting against the Emperor’s Governor, as he comes to their town in search of the Red Flower Society rebel list and the man protecting it - a person very close to Fong Sai-yuk…
The Legend Of Fong Sai-yuk is undoubtedly fun. It clips along at a very brisk pace, neglecting any overly emotional exposition or extensive back story explanation. Perhaps because of this, the sudden move from light-hearted interplay into intense emotion – particularly when Sai-yuk has to retrieve the dead body of a close friend murdered by the Imperial Guard - can be jarring. Jet Li doesn’t stretch himself in this film, playing it for laughs for the most part.
Josephine Siao is the heart of the comedy in this film. Her cantankerous, unapologetic attitudes and her impressive fight skills make her more than a match for the men. As she fights alongside her son, Sai-yuk, they mirror each other’s moves, and prove a formidable, if dotty pair. The representation of a strong female role model and character is very welcome, and something Far Eastern cinema is adept at. Along with the sterling skills of Tiger’s Lu’s wife, Siu Wan (Sibelle Hu) and the gentle but polished acting of Michele Ries, The Legend Of Fong Sai-yuk is almost a film for the girls!
Moreover, as it’s a Cory Yuen production, we can expect too much wire work but also strong, fast choreography. People half fly from roof tops before hands and feet start flying. Jet Li is permitted ample time to showcase his amazing speed, and he does not seem to mind supporting the female leads when it comes to bare handed combat. When fighting to earn the hand of the daughter of Tiger Lu in an open challenge, Sai-yuk and Sui Wan must take each other on with the stipulation that their feet cannot touch the floor. Cue a riotous display of spinning on red cloth and running over people’s heads and shoulders, and flips across great swathes of the townspeople. Other superb combative scenes see a stunning fire-rope versus sword battle between Sai-yuk and the Imperial Guard, as well as a tightly sequenced face-off using wooden staffs as weapons against the Governor.
Of course, this was the era before CGI dominance to iron out the kinks in production. A body falling onto a pyre is obviously a dummy, while the wires used in some of the more elaborate scenes are quite clearly visible. It is also referential to movies that have gone before following the same vein. As Sai-yuk is released from jail for yet more fighting, he tells his friends he gave an alias, and goes into a revered pose as the famous music of legendary Chinese hero Wong Fei Hung is played over, then the music breaks and Sai-yuk says a different name altogether. This pleasant in-joke is also matched with a hark back to Jackie Chan. During a dye-house altercation, and after a series of devastating punches between himself and the Governor are thrown, both men suddenly stop, rub the sore parts of their chests and take a breather.
For all of The Legend Of Fong Sai-yuk's positives, there are a few annoyances. Far too much time is given up to the love story, which is fraught with misunderstanding and duplicity. The movies main plot that was setup in the opening few scenes - the apprehension and annihilation of the Red Flower Society by the Manchu Emperor - seems forgotten until revisited almost forty minutes into the narrative. When serious emotional sentiment is touched upon, it’s disregarded for another pitch at comedy.
The Legend Of Fong Sai-yuk is fun, with a solid and equal mix of male and female character interplay. Any plot niggles are forgotten thanks to the brisk pace, and the spared expense of the effects is charming rather than distracting. JM
Film: Jackie Chan & The Kung Fu Kid
Release date: 9th August 2010
Certificate: 12
Running time: 85 mins
Director: Gangliang Fang & Ping Jiang
Starring: Yishan Zhang, Jackie Chan, Qixing Aisin-gioro, Bing Bai, Guo Ke-yu
Genre: Martial Arts/Drama/Family/Action
Studio: Kaleidoscope
Format: DVD
Country: China
Originally and more accurately titled Looking For Jackie, this 2009 Chinese family comedy has been retitled for its UK release in a cynical attempt to cash-in on Jackie Chan’s recent Karate Kid remake. But with little screen time for the martial arts legend, does the film offer enough elsewhere to placate fans angry at being duped into picking up this DVD?
The story begins in Indonesia, with 15-year-old Zhang Yishan (played by a young TV actor of the same name) performing badly at school, showing no aptitude for Chinese language or culture, and being barely bullied by his classmates as a result. His problem? An obsession with every 15-year-old boy’s favourite kung fu hero, Jackie Chan. His solution? To track down Jackie Chan and become his protégé (obviously). Yishan has the chance to make this dream a reality when he learns that Jackie is working on a new film in Beijing.
So, under the pretence of going to visit his stereotypically strict grandparents, he hits the road. Unfortunately for Yishan, he really isn‘t all that clever. Arriving at the wrong destination several times, he eventually endeavours to fall a little foul of a family of thieves with a tragic history.
As these various obstacles and distractions threaten to derail his pilgrimage, the promise of meeting Jackie and finding some manner of personal development seems further and further away…
Jackie Chan & The Kung Fu Kid is, at best, likely to leave fans feeling short changed, given that he only appears for a few minutes at the beginning and the end. In a similar vein, whilst he does briefly show off his martial arts skills, for the most part his role is to provide advice and guidance to the not overly troublesome Yishan, telling him to respect his elders and try harder at school. The film features no martial arts training whatsoever, with our hero’s journey coming across as a pointless and meandering one that mainly just depicts him blundering around and encountering a series of decent, everyday people, who are patient enough to help him on his way. Even the ‘bullying’ aspects of the film, and his ‘dramatic’ run in with the family of criminals are underplayed, with no obvious violent, threatening or traumatic overtones. As such, the film comes across as one long after school special - essentially a lecture, and whilst most people will certainly agree that Yishan needs a good shake to wake him, spending an hour-and-a-half waiting to find out if he’ll settle down and study hard like a good Chinese boy may be a bit of a stretch.
The film was directed by Jiang Ping and Fang Gangliang (Home Run) and has the distinct feel of being made for television. It’s full of awkward, static camera set ups and incredibly unnecessary editing effects. Also, for no apparent reason, Ping and Gangliang feel the need to constantly throw in some very out of place moments of slow motion and speeded up action, all of which only serves to leave the viewer with a vaguely amateurish impression.
What action scenes that do feature are woefully handled and clumsily displayed, and the only real appeasement for fans of the martial arts genre will be found in spotting some of Jackie Chan’s old sparring partners such as Yuen Wah or Yuen Wu. Any fleeting satisfaction gleaned from face spotting is quickly washed away again by the tide of tedium, however.
A little research shows that Jackie Chan & The Kung Fu Kid was certainly a hit at the domestic box office, setting a new record for local children and family friendly productions. The film is not unwatchable and there is some ironic fun to be had, mostly due to its stiff lipped and po-faced tone. However, for anyone expecting to see much of Jackie Chan, martial arts action in general, or even an engaging ‘rights of passage’ tale about one boy’s journey into manhood, will be left disappointed. PD
Film: Bodyguards And Assassins
Release date: 31st May 2010
Certificate: 15
Running time: 139 mins
Director: Teddy Chan
Starring: Donnie Yen, Leon Lai, Xueqi Wang, Tony Leung Ka Fai, Nicholas Tse, Simon Yam
Genre: Action/Martial Arts/Drama
Studio: E1
Format: DVD
Country: China/Hong Kong
The starriest cast in recent memory assemble for an epic tribute to one of the most important figures in Chinese history. The scene is set for a crushing disappointment, or an outright classic. But which?
Hong Kong, 1905. Dr Sun Yat-sen heads for the British colony in order to discuss his plans for a rebellion against the oppressive Qing Dynasty. But when word of his travels reaches the Imperial Court, assassins are sent to intercept him.
Committed revolutionary Chen Xiao-bai (Leung) anticipates this, and seeks the assistance of ‘Boss’ Li Yu-tang (Wang Xue-qi), a sympathetic businessman who worries that his 17-year-old only son, Chong-kwong (Wang Po-chieh), will suffer a grave fate if he continues down a political road. With ‘Boss Li’ providing financial support, the revolutionaries look to ensure Dr Sun’s plans are carried out. But when the Imperial Assassins begin picking off the rebels, Chen knows that his leader’s life is in grave danger.
Chen constructs a daring scheme to protect Dr Sun and throw the Imperial villains off the scent. To do this, he will need the assistance of an unlikely group of local heroes, each with their own story to tell…
A simple plot description, like the one above, of Bodyguards And Assassins could not hope to encompass each of the dozen-strong central cast, and their respective arcs and dynamics. This is grand, ambitious storytelling on a scale Western audiences might think surprising for a cinema thought of (often wrongly) as trading more in spectacle than in narrative sophistication. And while the big cast of characters are often not much more than familiar cinematic archetypes (including the quiet, academic revolutionary; the big-hearted simpleton; the estranged daughter; the concerned patriarch), the litany of Chinese/Hong Kong stars and superstars of several generations do their utmost to ensure that each of them is memorable.
It’s to the cast’s credit that the film is held together during a difficult, and somewhat clunky opening twenty minutes, as director Teddy Chen bounces from one character to the next, busily setting everyone up and winning audience affection as quickly as possible. And as the film dilutes it historical politics with odd, mostly unsuccessful comedy, we begin to fear that this starry ensemble is going to be too big to keep track of, and that the web of relationships will prove too confusing. But once everyone is introduced, the film seems to gain focus, with Tony Ka Fai Leung’s upstanding Chen Xiao-bai plotting with exiled Qing soldier Fang Tian (an effective Simon Yam cameo).
Then, acid-wielding ninjas crash through the ceiling and set about assassinating the revolutionaries in a skirmish that, though well-staged and exciting, feels very out of place in what was beginning to shape up as a rich, historical drama. That the action is choreographed with the kind of stylised movements that border on the supernatural prompts an audience to ponder exactly what sort of film they’re watching - worthy epic, or fight flick? It soon becomes clear that the answer is a bit of both.
As the central players are moved into position, Chen sets up the core premise of his film - that each of the dozen-strong cast will gather together to hold off the Imperial soldiers from attacking the convoy taking Dr Sun to his clandestine meeting, and run a decoy mission to keep them off the scent while the meeting is underway. Suddenly, Chen’s big-budget cinematic history lesson becomes an intriguing, and potentially ingenuous high concept period thrill-ride.
Moving into an enthralling, near-real-time second hour, as the heroic rebels come under attack from soldiers, ninjas and local mobs, with a succession of exhausting and emotional personal sacrifices, Bodyguards And Assassins ultimately does find a unique cinematic identity. If the resulting action sequence - draining in its length, exhilarating in its relentlessness - is not quite unique in its style and staging, it nevertheless makes for something approaching a brand new movie-going experience. To turn key Chinese history into a traditional, cinematic rollercoaster is a bold move, but Chen pulls it off, successfully marrying a Chinese and Hong Kong-style ‘fable’ with Hollywood-esque scope and grandeur.
As mentioned, the cast of this film is just about the largest collection of Chinese/Hong Kong stars in recent memory, and to a man they do some of their best work. Often considered the lesser of the two, Tony Leung’s ‘Big Tony’ Ka Fai is an appealing presence in what could have been the rather dull part of single-minded rebel Chen Xiao-bai - Leung makes the most of a meaty moral dilemma (his personal conflict surrounding the risk to his friend’s son, employed as a decoy for Sun Yat-sen), and is one of two anchors the script leans on to ensure it does not drift into narrative chaos.
The other anchor is Wang Xueqi, the eldest of the cast, in the role of Li Yu-tang. His journey from ambivalence to political conviction and determination amounts to perhaps the lone traditional ‘character arc’ in the film, and Wang is quietly immense as his character finds reserves of strength and will he had thought lost. It is a tremendous, un-showy performance, rightly acknowledged at award ceremonies throughout Asia in 2010.
The rest of the cast do their part and hold their own. Donnie Yen continues to operate outside his comfort zone, following his well-received turn in Ip Man with a performance here - as a conflicted Hong Kong police constable - that is more understated than his usual style, and completely without vanity. Nicholas Tse has never been better as ‘Four’, the illiterate Li family rickshaw driver who wants nothing more than to get married if he survives this tumultuous day. Fan Bingbing brings grace to a largely thankless role as Li Yu-tang’s fourth mistress who has a romantic past with Yen’s policemen. Leon Lai is a perhaps a strange choice for the role of a beggar who happens to be a martial arts master whom the rebels count on for the most important part of their plan, but as one of Canto pop’s ‘Four Heavenly Kings’, he brings the necessary gravitas.
Another of the ‘Kings’, Jacky Cheung, features in a stunning one-scene cameo, the best of a trio (the others being Eric Tsang and, bizarrely, Michelle Monique Reis) who turn up to further sprinkle somewhat distracting stardust on proceedings.
Visually, the film is utterly immaculate. Arthur Wong’s cinematography is typically beautiful, and the production design’s realisation of Hong Kong’s Central District in the early 20th century is a true wonder (wide shots of Hong Kong Island viewed from the other side of the harbour are almost heart-stopping in their detail and splendour).
Bodyguards And Assassins is a quality production, a true Asian ‘event’ movie, and fantastically enthralling two hours. If the parts don’t quite fit into a consistent whole, that should not at all detract from the sumptuous production values and terrifically thrilling action.
Ultimately not quite the classic it could have been (and thinks it is), but this flawed, messy epic is engrossing and powerful, knowing what audience strings to pull. Agonisingly close to greatness. JN
Film: The Victim
Release date: 10th July 2010
Certificate: 15
Running time: 92 mins
Director: Sammo Hung
Starring: Sammo Hung, Leung Ka-Yan, Chang Yi, Wilson Tong
Genre: Martial Arts/Action
Studio: Eastern Heroes
Format: DVD
Country: Hong Kong
The Victim sees the teaming up of Hung and Ka-Yan once again, following the success enjoyed together on films such as Knockabout and Enter The Fat Dragon.
Chen Rong (Hung), a drifter, likes to challenge his impressive fighting skills by throwing down gauntlets to renowned accomplished fighters, their masters and even their grandmasters. Yet, when he encounters a man he is unable to beat, a reclusive named Chun Yao, he kowtows and begs to become his student.
Yet Chun Yao is in seclusion with his wife, Yoo Yi, for good reason. His adopted father’s true son, Big Brother Ming, wants him dead and desires his wife.
Although dismissive and irritated by Chen’s constant badgering, will tragic events force Chun to accept the irascible wannabe student so he can face Ming and his hired heavies? And will a mysterious man seen only in shadow, a secretive hitman, prove to accomplish his dark mission to kill Chun Yao before Big Brother Ming need dirty his hands?
Leung Ka-Yan (known to HK fight fans affectionately as ‘Beardy’) is given centre stage quite unselfishly by co-star Hung. Leung Ka-Yan begun his career unschooled in unarmed combat, and rapidly learnt his impressive skills with various extra and cameo roles throughout the late 1970s. The Victim gave him chance to expand on his basic skills by practicing styles such as Northern style kung fu with luminaries such as Hung. Although, at the time, still regarded a novice, he does not disappoint. The style of Iron Cross he practices in this movie seems to have been in his armoury for many years, such is his seemingly effortless control and mastery.
Humorous segments, one particular favourite involving Chen stalking Chun Yao to a gentleman’s sauna and copying everything he does, contrast deftly with the suspense built throughout the piece with the intermittent scenes featuring the unidentified Hitman, always clad in shadow, being paid in gold. This contrast pulls through the lining of the film, with gravediggers meeting with a western stylised vampire, and role playing from Hung, who assumes Chun Yao’s standoffish character in order to have an angry conversation with him, as the man himself pretends to be ignorant of his existence.
Making wonderful use of the New Territories in Hong Kong gives the film its sense of pre-developed China, offering age and setting. A scene with the wannabe student against angry reluctant master sees the starring men take advantage of fighting in each room of a house, flipping through open plan windows and duelling around Chun’s wife. Unfortunately, a great scene involving Chen Rong in petulant bully mode is hard to see and savour, as he takes on a steam bath full of naked men with an example or two of expert towel flicking. This is sadly due to the steam, white background and un-restored age of the movie.
Another loss can be attributed to female lead Yoo Yi. Her vacuous staring into the distance leaves the viewer unsure if her pivotal character is truly tormented by the fate that surely awaits her, or if she is generally unsure about how to play the role of plot instigator.
Trademark weapon work interlaces with emotional intensity, perhaps slightly overplayed by the badgered Chun Yao, throughout this low budget masterpiece. The movie assumes a fine balance between comedic and crushing that ensures the series of unexpected twists play even sweeter to the viewer.
The crucial final reel sees Hung hand the limelight to Leung Ka-Yan as he faces his foe. Although The Victim is a sure progression in the realm of HK villain laden ‘this time its personal’ endeavours, Leung is still allowed a line at home within any Shaw Brothers epic: “Stay out of this, or you’ll all die.” Perhaps we know the outcome of this withering attack, but the well-timed tragic events preceding the epic battle give it much more depth – thankfully, it doesn’t make the viewer cringe.
The DVD is hard to get hold of, and is a straight VHS to DVD transfer. However, the scratchy frames and deviating colour mix set the viewer firmly in the warm and comforting filmic arms of old HK. The now defunct UK based label Eastern Heroes made sure the subtitles were updated and thankfully not burnt in with Mandarin characters, as many direct copies can be, and a small extras section offers an interview with Sammo Hung and Yuen Biao (absent from this movie), and a stills gallery.
Sometimes overlooked, this early classic is a satisfying and finely balanced example of Hong Kong action cinema. An aficionado and casual fan favourite, The Victim displays stunning choreography, the then emerging talent of Leung Ka-Yan, and a plot speckled with bluffs and twists. JM
