Showing posts with label Hong Kong. Show all posts
Showing posts with label Hong Kong. Show all posts

Monday, 3 November 2014

THE 8 DIAGRAM POLE FIGHTER - Review By Greg Klymkiw - OK Shaw Bros. Chop-Socky


The 8 Diagram Pole Fighter (1984)
Dir. Chia-Liang Liu
Starring: Gordon Liu Chia, Kara Hui Ying-Hung, Johnny Wang, Lily Li

Review By Greg Klymkiw

The 8 Diagram Pole Fighter is often cited as one of the great martial arts pictures of all time and while I won't dispute this proclamation from bigger aficionados of the genre than I, this fella has to admit he wasn't as bowled over as the fanboys. For me, I always found martial arts pictures thrilling enough when the action was hot and heavy, but whenever I saw them, I longed for something resembling characters as opposed to character-types. While I realize all genres are rooted in this form of shorthand, so many of the best pictures rise above and beyond the familiar - taking things to levels that allow for a more enriching experience.

I'll also admit it might be a cultural "thang" on my part, but for me, the preponderance of seemingly stale formulas in the genre of martial arts pictures - formulas that never seemed all that fresh in terms of character, approach and/or storytelling techniques - continue to test my patience, more so than any other genre.

First and foremost, the guiding factor for many Asian martial arts action movies is the notion of maintaining and/or regaining honour through revenge. On the surface, I have no problem with this. Vengeance offers up tons of entertainment value, especially when the violent extraction of an eye for an eye - sometimes literally as in the truly magnificent Five Fingers Of Death - is the very thing that drives the engine of many pictures in this and other genres. And let it be said, loud and clear, that revenge is, for me, the sweetest character motivation of all, but for any picture utilizing it and hoping to work beyond the pleasure derived from salaciously wallowing amidst carnage in the name of retribution, I must selfishly admit to needing a trifle more.

The few times I had any investment in the proceedings of Asian action epics were the pictures of Bruce Lee. He had a great mug that the camera loved, physical prowess in the martial arts that defied belief and he was such a great actor/screen persona, that it was relatively easy to root for him even if the characters he played had little more going on than their desire for revenge. Too many other actors - even if they were skilled martial artists - were bereft of the gifts that made someone like Lee a star persona. He was so rooted in our hearts and minds that even the most rudimentary, derivative plots took on veritable Shakespearean qualities when Bruce Lee commanded the screen.

The martial arts pictures I continue to have the most trouble with are period costume epics. The plots are all variations on the following: One man, family or group defend a particular emperor of a dynasty a long time ago in a land faraway. Betrayal and/or murder lead to revenge and the restoration of order once again. Okay, it's a sure fire formula, but for me, it never works as good drama and is merely the flimsiest coat hanger to adorn with some very cool shit (usually great fight scenes). On occasion there are exceptions to this rule, but they are rare indeed. I also reiterate that it might be some manner of cultural block since there are plenty of genres in the Occident that are saddled with similar attributes and they seldom bother me if the pictures are, at least, well made.

The 8 Diagram Pole Fighter has, in spite of its stellar reputation, the same lack of dramatic resonance for me – the been-there-done-that formula of the plot line detailed above (which is, by the way, essentially the 8 Diagram plot) is what drives the picture into an assembly line abyss for me.

That said, what separates it from many of the rest is just how exceptional the fight choreography and camera coverage of the ass kicking is. It's first rate, as a matter of fact. Any number of fight scenes in this picture, especially the climactic one had me on the edge of my seat with eyes glued to the screen. The placement of the camera(s) is always in the right place at the right time. Camera movement is judicious. Cutting is minimal. Close ups are sparing. Wide-shots are plentiful – allowing us to actually see the stunning fight choreography.

How wonderful all these would have been if there had been something resembling emotional investiture in the on-screen fictional personages involved.

The bottom line is that if you love martial arts, The 8 Diagram Pole Fighter is a four-star picture, but even if you aren’t, it still warrants three stars for one salient reason. The fights in the picture are so stunning that you’ll find yourself, like I did, scanning back to several of them again and again after the initial viewing.

Not surprisingly, I am always happy to watch Akira Kurosawa or John Woo direct action pictures, but they do what most of their Asian colleagues are unable to do – they provide stunning action with great (and yes, often familiar) stories that are replete with first-rate writing and most importantly, characters that are fully fleshed out. While I consider their films to be artistry of the highest order, they often inject and/or pay homage to a pulpy, trashy sensibility to the proceedings. Interestingly, their movies are infused with influence from masters like John Ford, David Lean, Sam Peckinpah, Jean-Pierre Melville and, in Woo's case specifically, movie musicals. (Woo's Red Cliff is a perfect example of a great Asian historical epic - stunning action, great story, etc.)

Many of the rest, while creating their own unique approaches – mostly to action – seem far too insular in their perspective. Their work will often be endowed with the necessary frissons to ensure that the action is fast and furious. but it's the action that takes a front seat to everything else a picture needs to survive both the ephemeral and purely visceral.


In spite of all this, I'm satisfied to report that The 8 Diagram Pole Fighter is magnificent pulp and I'm just as happy to take it over all the recent precious, fully formed historical epics of Zhang Yimou or worse, the overrated Ang Lee Crouching Shih-Tzu Flying Pussy nonsense. Methinks I doth protest too much. 8 Diagram a good picture. I just wish it and it's ilk were more consistently fleshed out. Even better than flesh, a nicely marbled hunk of barbecue pork is far more succulent with globs of fat attached to it.

Down with lean. Up with porcine. Pass the soya sauce, please.

THE FILM CORNER RATING: *** 3 Stars

The 8 Diagram Pole Fighter is available on DVD and Blu-ray on the Dragon Dynasty label’s series of Shaw Brothers Classics.

Saturday, 19 July 2014

FROM VEGAS TO MACAU aka "Ao Men feng yun"/"The Man From Macau" - Review By Greg Klymkiw - He's bigger than Jesus, Cooler than Elvis: CHOW YUN FAT rocks 2014 FantAsia International Film Festival - JE ME SOUVIENS!

JESUS, ALLAH, BUDDHA:
MOVE THE FUCK OVER!

GOD is in the house!
FROM VEGAS TO MACAU (2014) ***
Dir. Wong Jing
Starring: Chow Yun-Fat, Nicholas Tse, Chapman To, Philip Ng, Gao Hu

Review By Greg Klymkiw

Is there anyone alive cooler than Chow Yun-Fat? Uh, no. Bar none, the man rocks and he's back in the role that made him famous - Ken, the God of Gamblers. And what a God he proves to be! Jesus, Allah, Buddha: Move the fuck over, Ken is Lord and Master.

In From Vegas to Macau (aka Ao Men fang yun and The Man From Macau), this man among men, this God amongst Gods, can read cards like no other. He's sly as a fox, sexier than the devil himself and cooler than Elvis!

Ken teams up with a tripartite army of law enforcement officials and the burgeoning master hustler Cool (Nicholas Tse, no slouch in the "cool" department). His Robin Hood-like team of daring young men rob from the syndicate to give to the poor.

When Cool's Dad is kidnapped by the organized crime scumbags, our heroes must do battle with the revoltingly nasty Mr. Ko (Gao Hu). In addition to Ken's kung-fu-like prowess at flinging poker cards like deadly blades, he's got more than a few tricks up his sleeve.

Luckily for us (and our young hero), Ken also has a babe-o-licious daughter Rainbow (Kimmy Tong). What's a great HK action comedy without a babe? (There's more than a few wandering about here.)

Directed by the legendary Wong Jing (so prolific, he's directed enough films to rival the population of Hong Kong) and with superb fight choreography by Nicky Li, this is a frothy delight that happily brings us back to the pre-1997 glory days of HK cinema.

So ante up, varmint.

God awaits!

Monday, 9 April 2012

RED CLIFF (North American Theatrical Version) - Review By Greg Klymkiw - Truncated Woo


Red Cliff (2009)
dir. John Woo
Starring: Tony Leung Chiu-Wai, Takeshi Kaneshiro, Zhang Fengyi, Chang Chen and Zhao Wei

***1/2

Review By Greg Klymkiw

I know absolutely nothing about Chinese history. Well, not absolutely nothing. I have a vague notion that there was a period during the first few centuries of the previous millennium where the country was carved up among a variety of warlords. For what feels like eons, these despots fought each other incessantly for wealth and power until further battles shifted focus towards the centralization of power within this huge nation rather than letting things exist in a carved-up rag-tag fashion. That's it. That's all I know. I grant you it ain't much and it's most certainly a far cry from the knowledge I've gleaned on the subject of American history - a knowledge I garnered mostly from American cinema.

But I feel no shame on this front - especially not within the context of John Woo's new picture Red Cliff which might actually be the first movie to present a piece of Chinese history in a manner that makes some sense to me. Part of this, I believe, is rooted in Woo's consumate skill and artistry as a filmmaker. Woo's stylistic virtuosity not only presents the historical events of the picture with the kind of airtight adherence to narrative that made his best pre-Hollywood work like The Killer and Hard Boiled such fine movies, but he does so with a clear love of Hollywood cinema. He is clearly influenced and in the same league as such American Masters as John Ford and Sam Peckinpah - expertly blending the sentiment and manly honour with action and violence that borders on ballet (here we also see Woo's love of the American musical).

Red Cliff holds the distinction of being the most expensive film ever made in China and it has broken boxoffice records all over Asia in a two-part 280-minute epic. Alas, on its first-run in North America, we received not two parts, but a version that clocks in about an hour shorter. Some of the action of the narrative feels rushed and truncated, but luckily, what Woo does best, is gloriously intact.

Set around 300 CE (instead of the proper Christian "A.D."), Red Cliff tells the story of an epic battle between an alliance of southern warlords against the much larger and more powerful northern force. It's a classic right versus might tale and I'm grateful that Woo directs with such style, verve and storytelling savvy that I feel substantially enriched in at least one small part of Chinese history.

Most of all, it's one hell of a good show. Woo paints a gorgeous series of pictures with the kind of epic sweep that only a master can bring to the table. Replete with gorgeous compositions, plenty of intrigue and romance, healthy dollops of male honour and camaraderie and truly ferocious and thrilling battle scenes, Red Cliff, even in truncated form, does not disappoint. Woo's mastery of cinema allows for the kind of action set-pieces that feel unlike anything we have seen in recent years. Even though he maintains, like Peckinpah, a cutty style of movement, his sense of geography is so first-rate that we always know where we are in any given field of battle. Like Peckinpah, as opposed to virtually every other hack working in movies today, Woo infuses his action with emotional weight. Every edit is a story edit - moving the narrative ever-forward. And every act of violence is a skilfully choreographed ballet that not only looks great, but carries considerable dramatic impact. His sense of composition, like Ford, is painterly. I cannot think of a single frame that isn't wrought with the care and love of a true artist.

Though things move a tad slowly in the first hour, the final ninety minutes leave you wanting more. In fact, I had such a good time that I immediately wanted to watch it again. This is a rare occurence in contemporary cinema.

Red Cliff is a big screen must-see event, but even still, I would prefer additional helpings of this picture to come replete with the whole damn thing. As such, I am hoping and praying that my next encounter is the full 280-minute version. I suspect that when this happens, it'll be very easy to knock my rating up to a full four stars, maybe even five.

Some have referred to this as a comback film for Woo. I don't think Woo really went anywhere. He patiently delivered expertly crafted Hollywood genre pictures. Some were good and others not so good. And now, he's simply and happily back where he belongs - with a story that inspires him and talent in front and behind the camera that delivers 110% to make sure his vision is everything it has, can and will be.

Red Cliff is an E1 Entertainment release.