Posts tagged ‘hong kong films’

Love Hangover: Temporary Family and But Always movie reviews

Obligatory condom joke, Temporary Family, 2014

Obligatory condom joke, Temporary Family, 2014

A couple Chinese-language romantico films made their way into the U.S. market this week and one works while the other doesn’t. Hong Kong release Temporary Family uses the backdrop of the superheated HK real estate market to frame its romantic comedy, while PRC rom-dram But Always flails about in China and the U.S. as it attempts to tell its story of lovers pining for each other across years and continents.

Hong Kong renaissance woman Cheuk Wan Chi (aka Goo-Bi GC aka Vincci aka G) directs Temporary Family, an amusing romcom starring A-listers Nick Cheung and Sammi Cheng, along with mainland Chinese starlet Angelababy and rapper/singer Oho (who sings the title track). A broad, hyperlocal comedy that sends up the tight housing crunch in the former Crown Colony, the movie also includes cameos by Heavenly King Jacky Cheung, TVB stars Myolie Wu and Dayo Wong, and Chinese film star Jiang Wu (as an ultrarich PRC real estate speculator) and, not surprisingly, the movie has been a huge hit in its home territory. Although the film tilts towards the slapstick at times it still manages to sustain its narrative tension for most of its running time and is an agreeable timepass. Nick Cheung (Lung) started his career back in the day as a Stephen Chow wannabe so it’s not surprising to find him successfully tempering his usual dramatic intensity in a lighter comedic role. Sammi Cheng pulls out her neurotic jilted lover persona most famously seen in Johnnie To’s huge romcom hit Needing You, this time playing Charlotte, a recent divorcee unable to break from the past. Angelababy plays Lung’s adopted daughter, a slouchy millennial who bounces aimlessly from one low-paying job to another. Oho rounds out the main characters as the awesomely named Very Wong, Lung’s intern and the scion of an unnamed rich man in China. The plot contrives to throw together this unlikely crew as temporary roommates in a luxury condo in Hong Kong’s toniest neighborhood as they attempt to cash in on the real estate market’s volatility.

The wacky crew, Temporary Family, 2014

The wacky crew, Temporary Family, 2014

The movie is chock full of local references and in-jokes (why do all the real estate agents have bleached blonde hair?) and follows the time-honored Hong Kong movie tradition of good-natured vulgarity, including a running joke about a stray pubic hair. Structurally the film recalls the slackly constructed, improvisational comedies of Hong Kong Lunar New Year films and, maybe due to director G’s relative inexperience (this is her second feature), at times scenes abruptly and inexplicably fade to black. Though the movie’s energy flags a bit about two-thirds in, the amiable cast powers through the rough patches and manages to pull out a reasonably entertaining conclusion including the sardonic last scene, as Lung and Charlotte finally find their bliss. Nick Cheung as the desperate realtor Lung is as always quite watchable. Sammi Cheng is somewhat less so, as her neuroticness precludes much lovability, which in turn spoils any chemistry she and Nick might have had.

The movie has been a big hit both in Hong Kong and the PRC, and it’s great to be able to see it here in the U.S. on the big screen, if only to ogle the panoramic shots of Hong Kong harbor and its skyline at night. I had no luck tracking down the U.S. distributor so I was a bit surprised when it popped up here at the Metreon, but I’m glad that I ran across its screening schedule in a random facebook post. It looks like some Chinese distributors are following China Lion and Wellgo’s lead in targeting the Chinese-speaking audience here in the States, although their choice of films is somewhat random. But I’ll take what I can get, especially if it means releases of non-action films like Temporary Family and Pang Ho-Cheung’s Aberdeen, which showed up without fanfare down in Santa Clara a month or so ago.

As bad as it looks, But Always, 2014

As bad as it looks, But Always, 2014

Like those two films, the Nic Tse/Gao Yuan Yuan romantic vehicle But Always had a day-and-date release here in the Bay, but the movie is no great shakes and is in fact one of the worst, most hackneyed and clichéd films I’ve had the misfortune to witness in a long while. Granted, I don’t go see a lot of romantic films, since my preference is for movies with guns and gangsters, but I know a bad movie when I see one. Not only is the storyline derivative and the narrative conflict forced, but the characters are poorly drawn and the film’s direction is sloppy and amateurish.

The movie starts in 2001 in New York City, then flashes back to 1970s Beijing where Anran (Gao Yuan Yuan) and Yongyuan (Nic Tse), are young kids. This is the best part of the film as the movie renders mid-century China as comfortably shabby and not yet touched by modern global capitalism. The movie then laboriously follows Anran and Yongyuan’s relationship through the years in both China and the U.S. as they hook up, fall apart, and reconcile numerous times for no apparent reason except to generate dramatic angst. The film trowels on the melodrama as suicide attempts, love triangles, jilted lovers, and other tragedies mount. The only things missing from the hit parade of drama trauma are amnesia, long-lost twins, and a car crash, though the ending surely tops these in its maudlin, fatalistic conclusion. Hint: the date and place of the lovers’ last rendezvous gives away the fantastically tragic coincidence at the film’s climax.

Pretty Nic, But Always, 2014

Pretty Nic, But Always, 2014

Nic Tse and Gao Yuan Yuan are nicely lit and photographed throughout, though Nic seems a bit embarrassed to be in such a crappy flick. It’s also funny to note that, being a PRC production, we get to see his a lot of his beautiful torso and cut abs but almost none of her naked skin except a decorous peek at her bare shoulder.

There’s nothing wrong with the old-time narrative of star-crossed lovers patiently waiting for each other through endless adversity and I’m all for a well-told version of a classic story, but this movie is not that. Instead it’s a lazy, clumsy rehash of tired tropes without any freshness, originality, wit, or style. Yeah, I didn’t like it much.

September 10, 2014 at 8:49 pm 1 comment

Mean As Hell: That Demon Within movie review

 

Badness, That Demon Within, 2014

Badness, That Demon Within, 2014

That Demon Within, which had a day-and-date opening in Hong Kong and the U.S. last weekend, is the latest in a series of overwrought and intense thrillers from director Dante Lam (Unbeatable; The Viral Factor; The Beast Stalker), The movie starts off with a bang with a bloody firefight in the streets of Hong Kong as a masked gang of jewel thieves shoots up the cityscape. Hon (Nick Cheung), the gang’s ringleader, ends up in the emergency room where Dave (played by the East Bay’s own Daniel Wu), the beat cop on duty at the hospital, volunteers to donate blood to the not-yet-recognized criminal. The transfusion saves Hon’s life and Dave is subsequently wracked with guilt and berated by his superiors for resuscitating the ruthless crook. The film follows Dave’s tribulations as the repercussions of his impulsively charitable act catalyze his increasingly disturbed responses.

True to director Lam’s recent output, TDW includes fraught family issues, extreme car accidents, and graphic violence with guns, clubs, blunt objects, pointed objects and other nastiness. Lam also ruthlessly exploits Chinese taboos about death as the ring of jewel thieves operate out of a mortuary and wear Chinese demon masks while perpetrating their heists. Lam makes good use of this creepy morbidness, pushing his primary audience’s superstitious buttons to heighten the film’s dark and fatalistic mood.

Two of a kind, That Demon Within, 2014

Two of a kind, That Demon Within, 2014

Lam also shows off his trademark grittiness, making good use of his mostly nocturnal Hong Kong locations and effectively utilizing his supporting cast of unglamourous character actors, as well as making the usually suave and pretty Daniel Wu look psychotically unbalanced. However, Lam’s recent box office successes and perhaps greater creative leeway have also brought his more melodramatic and overwrought tendencies to the fore, as this film’s storyline and direction at times veer far into Grand Guignol excess, with an overall sense of visceral unpleasantness resulting from Lam’s generous use of bloody violence including immolations, shootings, rape, beatings, and stabbings.

What makes the film more than a mindless shoot-em-up is Lam’s examination of a fatefully linked pair of antagonists, the guilt-ridden cop Dave and the smirking gangster Hon. Lam is known for his action set pieces but he also specializes in wounded souls who bear the collateral damage of the wreckage of their lives, such as Nick Cheung in Unbeatable tending to a traumatized mother mourning her lost child, or Cheung lamenting his lost wife The Stool Pigeon. In TDW Daniel Wu is a similarly troubled soul, looking disturbingly haggard and gaunt as he carries on the tradition started by Cheung in Unbeatable of extreme physical transformation as a badge of honor in Dante Lam films. Wu’s emblematic opacity here serves him well as his character has quite a few secrets to hide. However, it strains credulity that Dave would ever be accepted into the Hong Kong police force in the first place since it seems unlikely he’d pass the psych screening. But then we wouldn’t have a movie, I suppose.

In TDW Lam reunites with his current favorite actor, Nick Cheung, who’s fresh from winning this year’s Hong Kong Film Awards Best Actor statue for his outstanding turn in Lam’s popular MMA flick Unbeatable. Here Cheung plays a supporting role but he delivers another solid performance, as usual doing a good job as the evil gangster haunting Daniel Wu’s cop character.

Bloodies, That Demon Within, 2014

Bloodied, That Demon Within, 2014

Lam’s been one of Hong Kong’s most bankable directors of late and his recent successes have granted him a lot of leeway in his stylistic tics. In TDW Lam indulges himself quite a bit, at times to the point of caricature, with the film’s narrative detours and winding plot twists wandering through hypnotherapy, Chinese burial rituals, Jungian analysis, and other meandering explanations for the protagonist’s erratic behavior. However, TDW has an undeniable intensity that works more often than not and makes it eminently watchable. Hopefully it will find an audience in its U.S. theatrical release so that more Hong Kong product makes its way to the big screen in this country in the future.

That Demon Within

now playing

AMC Metreon

San Francisco CA

 

and at selected theaters in the U.S. and Hong Kong

 

April 22, 2014 at 6:42 am 1 comment

Don’t Take Your Guns To Town: Drug War film review

Breaking glass, Drug War, 2012

Breaking glass, Drug War, 2012

A new Johnnie To joint in U.S. movie theaters is an event to be celebrated and this month sees the stateside release of Drug War, To’s latest crime film. The prolific Hong Kong filmmaker has directed more than fifty movies since the 1980s and in the past ten or twelve years or so he’s become an international film festival darling, but only about a dozen of his movies have seen theatrical releases in the U.S. (the last being Vengeance in 2009). Drug War is his first crime film set in mainland China (his first ever was last year’s rom-com Romancing In Thin Air) and while it may look and feel very different from his earlier Hong Kong-based classics, in its subtle challenges to the status quo in the Chinese film industry Drug War demonstrates that To and his Milkyway Image production house are still creatively shaking things up.

The plot involves Timmy Choi (Louis Koo), a Hong Kong drug manufacturer working in China who is summarily busted in the film’s opening sequence. In order to save his skin and escape the death penalty under China’s draconian anti-drug laws, Choi agrees to aid a crew of mainland cops, lead by Zhang Lei (Sun Honglei), in organizing a sting against his compatriots. The film then follows the uneasy alliance of Choi and Zhang as they trace Choi’s fellow drug-runners up the supply chain.

Messy Louis, Drug War, 2012

Messy Louis, Drug War, 2012

Drug War is in some ways a much more a standard policier than your usual To movie. Soi Cheang (Motorway; Accident) is credited as a second unit director and might have had a hand in shaping the look of the film, but the change in milieu from To’s usual Hong Kong stomping grounds to mainland China might also account for the difference in the film’s visual texture. The movie is shot in a predominantly blue palette with mostly natural lighting that feels more Ringo Lam-like than Milkywayesque. To also uses the wide-open, smoggy spaces of industrial China and its endless six-lane highways and anonymous cities as metaphors for the blurry ethical and moral road his characters travel down.

Nowhere to be found is the surreal high-gloss sheen of To’s earlier Hong Kong-based crime films such as Exiled, Election, or PTU, which were gorgeous visual paeans to the beauty and decadence of the former Crown Colony’s criminal societies. The grit coating the economy cars and paneled trucks cruising along Drug War’s Chinese roadways contrast starkly with the glossy sleekness of the luxury vehicles speeding down the roads of nocturnal Hong Kong in Milkyway classics like The Mission. Even the perpetually glamorous and handsome Louis Koo is scuffed up, his famously tanned, square-jawed visage occluded by scabs, burns, and an unsightly white bandage across the bridge of his elegant nose.

The film also displays little of To’s previous quirkiness, possibly reflecting the reduced influence of long-time collaborator Wai Ka-Fei or the recent death of longtime Milkyway screenwriter Kam-Yeun Szeto. Although there’s some submerged humor in the spectacle of a couple coke-addled flunkies driving endlessly through the vast Chinese landscape, as well as in the inclusion of a pair of deaf-mute brothers who man a drug manufacturing plant, for the most part the movie plays it pretty straight.

Sun and gun, Drug War, 2012

Sun and gun, Drug War, 2012

There’s also much less action than in To’s previous work, but when the guns do come out the excellent shootouts demonstrate To’s easy mastery of the action genre. This is especially notable in a brief yet effective gun-battle inside a drug manufacturing plant that escalates from handguns to rifles to explosives with military precision. The film’s climactic showdown recalls the ending of Expect The Unexpected (1998), nominally directed by Patrick Yau but most likely ghost-directed by To, in which a shootout leads to bloody and indeed unexpected results.

Sun Honglei shows some range as the stoic Mainland cop who once undercover transforms into a jovial drug dealer, but in contrast to the naturalistic tone of most of the movie his performance skates dangerously close to hamminess. Louis Koo is somewhat wooden as the enigmatic Timmy Choi but this is possibly appropriate, since he’s portraying a man with a lot to hide. When Choi mourns his recently deceased wife, however, Koo’s performance lacks the pathos and depth of emotion that a more skilled thespian such as Francis Ng or Lau Ching Wan might have brought to the scene. Interestingly, the most engaging supporting characters are the seven Hong Kong character actors, including Milkyway stalwarts Lam Suet, Michelle Ye, and Gordon Lam, who make cameo appearances as drug dealers in the second half of the film. This perhaps unconsciously reflects To’s comfort zone in dealing with Hong Kong performers vs. the less familiar mainland actors.

Mirror images, Drug War, 2012

Mirror images, Drug War, 2012

Though Drug War may not be quite as fabulous or fully realized as some of his earlier classics it’s an entirely respectable and watchable product that has a certain grim integrity. The film is one of the first that To’s made while working under SARFT (State Administration of Radio, Film, and Television), China’s infamous censorship board, yet despite the censor’s approval To manages to infuse the film with a complexity of morality not found in many commercial Chinese films. Both cops and criminals are ruthless, amoral, and obsessed, using any means necessary to achieve their respective goals, and all meet similar fates in the end. The most interesting supporting characters are the aforementioned Hong Kong criminals as well as the deaf-mute drug manufacturers who, along with Louis Koo’s Timmy Choi, are the only characters with visible family ties. In contrast, aside from Sun Honglei as Zhang and Crystal Huang as a female detective, the mainland cops blend together in an anonymous blur. Some observers claim that the film is a parable for the fraught state of Hong Kong-China relations and To himself has spoken of the way in which he used the film as an experiment to see how far he could go in transplanting his Hong Kong-style crime movies to the mainland. If To in one of his first mainland productions has managed to sneak in some sociological critique under the noses of censors and push the envelope of acceptability under SARFT regulations then that bodes well for his fortunes in China. In the future it will be interesting to see how he copes with the strictures of working on the mainland and if he can maintain his vision and aesthetic despite SARFT’s watchful eye.

Many thanks to Ross Chen, Kevin Ma, Sanney Leung, Chuck Stephens, and Shelly Kraicer for their imput and assistance in this piece, especially their vital insights into Johnnie To’s clever subversions of SARFT restrictions.

Drug War North America showtimes

August 17, 2013 at 12:39 am Leave a comment

Fade Away and Radiate: Tai Chi 0 film review

Angelababy, text, and explosions, Tai Chi 0, 2012

Tai Chi 0, actor-turned-director Stephen Fung’s new-school martial arts movie, opens this weekend in the U.S. after a pretty successful theatrical run in China. The first of a trilogy, Tai Chi 0  is chock full of what we in the nineties used to call self-reflexivity and is loaded with Brechtian bells and whistles, but ultimately the movie doesn’t have a lot of substance below it’s clever exterior. Although it was a lot of fun while I was watching it, the effects of Tai Chi 0 faded pretty quickly after I left the theater.

The movie’s premise is a nice homage to classic kung fu flicks: talented but naïve youngster attempts to hone his martial-arts chops by seeking out an elusive gong fu master, with many obstacles barring his way. Tai Chi 0’s main character, Yang Lu Chan, is born with a small fleshy horn on the side of his forehead that portends his inborn martial arts prowess. Unfortunately, whenever Yang starts an ass-kicking his life essence is dangerously depleted. In an attempt to counter the deleterious effects of using his powers, Yang journeys to Chen village in hopes of training with the master residing there, but tradition forbids any outsiders learning the village’s kung fu secrets. The movie has fun pitting Yang against villagers using mah jong tiles and tofu to defeat his attempts at learning their ways and Tai Chi 0 is best when it riffs on these familiar tropes. Sammo Hung’s classic action choreography carries the movie’s fight scenes, though it’s undercut a bit by Fung’s shaky-cam and too-quick editing.

Jayden Yuan Xiaochao, flexible newbie, Tai Chi 0, 2012

Showing some moxie in her role, Angelababy acquits herself pretty well as the spunky heroine, while Eddie Peng as her conflicted boyfriend torn between tradition and the lure of modernity epitomizes duBois’s double consciousness. Newcomer Jayden Yuan Xiaochao as Yang is good as the archetypal kung fu neophyte, though he doesn’t get to do much but fight sporadically and look innocently confused, and Tony Leung Ka-Fei is excellent as a laborer who secretly aids Yang’s quest to learn Chen village kung fu. Unlike some of his contemporaries, Big Tony’s been transitioning nicely to character roles, both here and in Detective Dee and the Mystery of the Phantom Flame.

Big Tony, Tai Chi 0, 2012

Where Tai Chi 0 departs from its martial arts movie predecessors is through its constant use of quirky onscreen titles, constantly traveling camerawork, and other gaming effects. Recalling an old kung fu movie tradition (more recently adopted by big-budget mainland China agitprop flicks like 1911 and Founding of a Republic), actors are introduced by brief onscreen titles that also declare their resume (ie, “that’s Andrew Lau as Yang’s father: he directed the Infernal Affairs trilogy.”) Other titles both informative and ironic constantly pop up throughout the movie, including those detailing the progress of Yang through his quest, as well as onscreen diagrams tracing the speed and vector of a flying kick and other gameboyesque techniques. The movie also features a steampunky locomotive that resembles a huge cast-iron teapot, with grinding gears and smoking cogs straight out of Modern Times. While this is all very adroit and adds interesting visual texture to the movie, the tricksiness still doesn’t make for a really memorable cinematic experience, unlike, say, Flying Swords of Dragon Gate, Tsui Hark’s recent foray into 3-D IMAX which successfully exploited the latest innovations in movie technology to full and insane effect.

But Tai Chi 0 is certainly as diverting as most Hollywood blockbusters and it’s definitely worth seeing on the big screen, if only to catch all of the rapid-fire DFX. It’s fun to see a lot of expensive postproduction imaginatively utilized in a Chinese-language film and I’m all for expanding the boundaries of cinematic expression, so I’ll go see the next two movies in the trilogy. Especially if they make it to the U.S. in 3-D IMAX.

Tai Chi 0 opens October 19, 2012. Go here for showtimes.

October 22, 2012 at 6:08 am Leave a comment

Lovesexy: Vulgaria film review

DaDa Chen gives it her all, Vulgaria, 2012

A couple days ago I had the good fortune to run across one of my favorite movies on youtube, Once Upon A Time In Triad Society, released in 1995 and starring the inimitable Francis Ng. An outstanding black comedy that savagely skewers any romanticized notions of triad honor among thieves, it’s also an excellent example of the kind of deliriously high-energy cinema that Hong Kong used to put out on a regular basis back in the day. After watching it again I lamented to myself the current shortage of truly insane and invigorating HK movies these days, most of which have been replaced by tame and decorous, high-tone product from Mainland China (see The Bullet Vanishes).

But my faith in Hong Kong cinema has been restored with Pang Ho-Cheung’s newest release, Vulgaria, which is a throwback to the glory days of Hong Kong movies, with its mostly improvised, who-gives-a-fuck attitude, and its willingness to be loud, tasteless, and offensive. But this is no dumb and dumber—the movie is a spot-on look at the ailing Hong Kong film industry and the depths that HK moviemakers need to go to in order make a living these days, including producing tacky Category III movies, sucking up to insane Mainland financers/gangsters, and running low-rent mahjong dens complete with childcare and takeout meals.

Ronald Cheng in sequins, Vulgaria, 2012

Candy-assisted blowjobs, bestiality, crazy cursing, deep-fried field mice—Vulgaria goes there and it works. The movie’s cast includes some of Hong Kong’s best comic actors,  some of whom appeared in the Wong Jing stinker Marrying Mr. Perfect. In that movie they floundered, but here they’re brilliant. Chapman To rocks as a hapless film producer trying to stay afloat by any means necessary, even if it includes the possibility of interspecies sex. There’s a line that he won’t cross, however, which adds a certain poignancy to the character’s plight and which leavens the unbridled cursing, sex talk, and casual coupling that makes up the bulk of the proceedings. DaDa Chen is also great as the good-natured, well-endowed Popping Candy, so named for the particular type of fellatio she blithely practices in order to get movie roles. Ronald Cheng in spangled clothes is outstanding as the metrosexual gang leader Tyrannosaurus, and the banquet scene with himself, Lam Suet, Chapman, and Simon Lui is one of the funniest things I’ve witnessed in many a movie.

Pang’s a whip-smart director and even in this quickie, low-budget flick he effectively manipulates the cinematic lexicon, with the film’s storyline effortlessly flashing back and forward in time. Another great thing about Pang’s films is their focus on the profane joys of the Cantonese language and Vulgaria is no exception. In this one the actors seems to be especially gleeful in utilizing as many creative obscenities as possible and there’s a particularly funny running gag involving the limited Cantonese-language skills of Chapman To’s Chinese American assistant.

Chapman To, Simon Lui and mules prepare to meet their fate, Vulgaria, 2012

All in all Vulgaria is one of the most enjoyable movies I’ve seen in a long time—-it’s got life, energy, and cojones to spare. Not only is it a smart commentary on the state of Hong Kong cinema today, it’s way more creative, vigorous and fun than most of the bloated, predictable product out there. Now if only more Hong Kong movies could follow suit, it would be like 1995 all over again.

UPDATE: Vulgaria has just scooped up a trio of nominations for the Golden Horse Awards-–Chapman To for Best Actor, Dada Chen for Best Supporting Actress, and Ronald Cheng for Best Supporting Actor. No nomination for screenplay, directing, or profanities this time. Awards announced November 24.

UPDATE 2: Ronald Cheng just won the Golden Horse for Best Supporting Actor–truly well deserved, IMHO. Not many people can convincingly play a man in love with a mule and Ronald did it with style and panache. Go Vulgaria!

Vulgaria

opens Sept. 28

AMC Metreon 16

101 Fourth Street

San Francisco, CA

September 28, 2012 at 6:24 am 3 comments

I Want Candy: Hong Kong Cinema & the 3rd I South Asian Film Festival

Lau Ching-Wan, badass, The Longest Nite, 1997

This weekend the Bay’s got another embarrassment of filmi riches from a pair of dueling Asian film festivals. This year’s editions of Hong Kong Cinema, and the 3rd I South Asian Film Festival both offer a ton of tasty movie treats.

The 3rd I festival, which starts Sept. 18, runs six days and features over 20 films from 9 different countries including India, Pakistan, Bangladesh, Sri Lanka, The Maldives, Canada, South Africa, UK and USA. Among the highlights is Jaagte Raho (Stay Awake), from 1956, starring my new favorite actor Raj Kapoor and co-directed by Amit Maitra and famous Bengali theater artist Sombhu Mitra. Jaagte Raho’s story follows Kapoor as a thirsty man from the country that arrives in the city longing for a drink of water. He ends up trapped in an apartment block where he’s mistaken for a thief, spending a long, sleepless night being relentlessly chased by the misguided tenants. As he hides out in various apartments he discovers the corruption and deceit amongst the residents, with adultery, gambling, drunkenness, counterfeiting, greed, and theft among their unsavory traits.

Raj Kapoor, sacrificial lamb, Jaagte Raho, 1956

Although his earlier films featured him as an angsty young romantic lead, in Jaagte Raho Raj Kapoor iterates his naïf-in-the-big-city persona that he repeated many times in his later years. Here he’s all wide eyes and pleading gestures as the country bumpkin, a stark contrast to the duplicitous, licentious lot pursuing him.

Raj and Motilal, tippling, Jaagte Raho, 1956

This is great stuff, sly and satirical, that cleverly exposes the hypocrisy of the corrupt tenants. It’s shot in shimmering black and white with a crack soundtrack with lyrics by Shailendra and music by Salil Choudhary, including the rollicking drunken ramble Zindagi Khwaab Hai. The legendary Motilal is outstanding as an inebriated bourgeois who takes in the destitute Kapoor, in an homage of sorts to City Lights—however, Jaagte Raho’s booze-driven hospitality has a much more twisted outcome than does the Chaplin film. The film concludes with a lovely cameo by Nargis, once again representing the moral center of the movie. This was the final film to star Kapoor and Nargis and coincided with the breakup of their long-time offscreen affair as well, so it’s especially bittersweet to see the famous lovers together for the last time. Jaagte Raho was a box office flop when it was first released, but it’s since been recognized as a classic. Interestingly enough, along with Meer Nam Joker, which also bombed when it first came out, Kapoor cites this as his personal favorite film.

Also of note at the 3rd I festival: Decoding Deepak, a revealing look at the modern-day guru that’s directed by Chopra’s son Gotham; Runaway (Udhao), Amit Ashraf’s slick and stylish indictment of the link between politics and the underworld; Sket, which looks at a vengeful girl gang in an East London slum; the experimental documentaries Okul Nodi (Endless River) and I am Micro; this year’s Bollywood-at-the-Castro rom-com Cocktail; and the short film program Sikh I Am: Voices on Identity.

This year’s edition of Hong Kong Cinema, the San Francisco Film Society’s annual showcase of movies from the former Crown Colony, has a bunch of outstanding product. The program includes a three-film retrospective commemorating the 1997 handover: Peter Chan Ho-sun’s Comrades: Almost A Love Story, which stars Leon Lai and Maggie Cheung as friends almost with benefits from two different sides of the HK/China border; Made In Hong Kong, Fruit Chan’s debut that’s a redux of the venerable Hong Kong gangster movie and which stars the young and skinny Sam Lee in his first role; and The Longest Nite, one of Johnny To’s nastiest crime dramas, with impeccable performances by Lau Ching-Wan and Tony Leung Chiu-Wai as (of course) an immoral cop and a vicious criminal.

These three classics are hard acts to follow but several of the other films on the docket manage to hold their own. Both Pang Ho-Cheung’s Love In The Buff, an excellent romantic dramedy with Miriam Yeung and Shawn Yue as the make-up-to-break-up lovers (full review here) and Ann Hui’s most recent feature, A Simple Life, starring Andy Lau and Deanie Ip as a man and his amah, (full review here) had extended runs in San Francisco earlier this year so this may be the last chance to see then on the big screen in the Bay Area.

Sammi & Louis, bantering, Romancing In This Air, 2012

Also good is Johnny To’s new romantic comedy Romancing In Thin Air, which To co-wrote with longtime creative partner Wai Ka-Fai and the Milkyway Image team. Set mostly at a vacation lodge in an idyllic high-altitude locale in China, the story concerns two romantically wounded individuals grappling with the peculiarities of their damaged relationships. Sammi Cheng is her usual charming self as the female lead, but although he’s likeable enough, Louis Koo as a Hong Kong movie star (!) is a bit lacking in charisma and doesn’t bring a bigger-than-life sensibility or the self-effacing humor that Andy Lau or a more engaging performer might have done.

Although the plot is seems at first to be fairly straightforward, the film gradually reveals Milkyway’s trademark weirdness. The story of Sammi’s missing husband, lost in the dense high-country woods for seven years, is a bit creepy, though I do like that when the husband courts Sammi he turns into a clumsy doofus. The film also includes a very meta movie-within-a-movie conceit and makes several sly jabs at the Hong Kong film business.

Utterly illogical, Nightfall, 2012

Less good are Derek Yee’s The Great Magician, a rambling and messy movie that’s a criminal waste of Lau Ching-Wan, Tony Leung Chiu-Wai, and Zhou Xun (full review here), and Roy Chow’s Nightfall, a turgid and ridiculous film that similarly wastes good performances by Simon Yam and Nick Cheung. I really wanted to like this movie, a wannabee intense and serious thriller, not least for its slick and attractive cinematography. But despite a gripping and violent opening scene the movie has some great gaping holes in logic and alternates between chatty exposition and absurd set pieces. Still, Nick Cheung is very good as a haunted convict with anger management issues, though Simon Yam is somewhat less good as the cop unraveling the mystery. Yam doesn’t have quite the emotional depth of Francis Ng or Lau Ching-Wan and so the payoff at the end of the film is weaker than it might have been. Michael Wong is quite bad as an abusive father, with a shrill, one-note performance and his annoying habit of speaking English at the most illogical moments. I kept imagining what Anthony Wong might have done with this part. The violence is a notch more gruesome than most mainstream Hong Kong films, especially in the opening fight sequence—looks like someone’s been watching Korean movies for tips on emulating their gory tendencies.

All in all, San Francisco Asian film fans are going to have to make some hard choices this weekend—not that that’s a bad thing by any means.

3rd i’s South Asian Film Festival

September 19-23, 2012, Roxie and Castro Theaters, San Francisco
September 30, 2012, Camera12, San Jose

Hong Kong Cinema

September 21–23, 2012
New People Cinema, San Francisco

September 19, 2012 at 6:14 am 2 comments

Night and Day: More Hong Kong International Film Festival

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Teen nihilism, Himizu, Sion Sono, 2012

Besides Love In The Buff and Beautiful/My Way, I also saw a few other films during my stay in Hong Kong, at both the Hong Kong International Film Festival and the Hong Kong Asian Film Financing Market (HAF). HAF is the biggest trade show in Asia for television and film distribution buying and selling, so I spent a couple days wandering the halls of the massive Hong Kong Convention Center checking out the latest product from all over Asia.

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Starlets r us, Hong Kong Asian Film Financing Forum, 2012

One day I caught the press conference for Painted Skin 2, where pretty male and female starlets Aloys Chen Kun and Yang Mi appeared along with director Wuershan. Wuershan’s last film, The Butcher, The Chef, and the Swordsman, followed the psychedelic journey through time and space of a fateful meat cleaver, and which earned him the chance to direct PS2, which comes out this summer. The presser was all in Mandarin so I didn’t catch any of the fluff, but the trailer looks pretty fun and the costumes and art direction promise to be as fantastical as Wuershan’s last movie. I’m afraid that I didn’t recognize Yang Mi as one of the stars of Love In The Buff, which I’d just seen the day before, in part because she’s so generic looking. I didn’t stick around for the press conference for The Bullet Vanishes, even with the lure of the possible appearance of star Lau Ching-Wan, but apparently only Jaycee Chan, Yang Mi, and a couple other starlets were in attendance so I don’t think I missed much. On my way out I came across a random TVB press conference with yet more starlets, this time in period dress, promoting an indeterminate historical drama.

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It’s rainin’ today, Himizu, Sion Sono, 2012

HAF and HKIFF both screened a slew of movies that have yet to see release in the U.S., so I tried to catch as many of those as I could. Himizu, Sion Sono’s new movie, is a hot mess, yet at times it’s also visionary in its extreme and unflinching critique of the human condition. The film uses post-tsunami Fukashima as a metaphor for the decline of humanity, as seen through the eyes of hapless teen Sumida and his admirer, fellow child-abuse survivor Chazawa. Sumida is the forlorn son of an abusive gambler and a neglectful mother who run a crappy boathouse on the outskirts of town. Enduring several beatdowns from his useless dad, the loan sharks chasing him, and various random gangsters, Sumida eventually takes matters into his own hands, with the help of Chazawa, the rich girl crushing on him who’s also got some weird family issues. Though overly long and in desperate need of a more disciplined narrative structure, the film is nonetheless engaging and in several scenes quite gripping. Shota Sometani and Fumi Nikaidou are very good as the oppressed teens, with Sometani in particular bringing a fierce intensity to his role as the beaten-down yet not defeated protagonist who struggles to find a moral center.

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Shu Qi, jungian, The Second Woman, 2012

The Second Woman, Carol Lai’s thriller, stars Shawn Yue and Shu Qi as Nan and Bao, two lovers who perform together in Chinese theater troupe. Their relationship is complicated by the presence of Bao’s identical twin Hui Xiang, who is also a wannabe actress. When Hui Xiang secretly subs for Bao during a performance the hijinks ensue. The Second Woman clearly aims to replicate the backstage psychological drama of The Black Swan in its use of the theatrical milieu and its Freudian (or is it Jungian?) identity confusion. It’s a handsome and expensive-looking production but all too often relies on really loud and sharp blasts of music, dark objects suddenly falling from offscreen, and other hoary cinematic devices to provoke the viewer’s jumpiness factor, rather than truly creepy or frightening events. It doesn’t help that Shu Qi’s twin characters don’t have a lot of distinguishing features, with the exact same hairstyle, wardrobe, and facial expressions. As the fulcrum of the love triangle Shawn Yue doesn’t have much of the charm that he exhibited in Pang Ho-Cheung’s Love In A Puff/The Buff.  The movie is a tepid attempt at psychodrama that the lacks narrative tension or engaging characters that would give the film some force.

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Little Tony & Lau Ching-Wan, disappointing, The Great Magician, Derek Yee, 2012

I had high hopes for The Great Magician, since it was directed by Hong Kong stalwart Derek Yee (Lost In Time; C’est La Vie, Mon Cherie: One Nite In Mongkok) and stars the A-list cast of Tony Leung Chiu-wai, Lau Ching-Wan, and Zhou Xun. The film is set in the 1920s during the Republican Era in China and has high-tone production values and art design by Oscar-nominated Chung Man-yee. It’s a glossy picture with all kinds of talent and an interesting premise, but in the end it falls flat, suffering from an inability to maintain a consistent filmic tone (is is a comedy? a romance? a satire? an action movie?).

The movie also feels about thirty minutes too long, and here again I must lament the decline of the 90-minute Hong Kong action movie. When Hong Kong directors worked within an hour and a half running time they finely tuned their narrative structures to cram the story and action into that rapid-fire time length. Now that Chinese-language films have begun to creep toward the 2-hour mark it seems like many Hong Kong productions start to tread water around the 45-minute mark in order to fill up the screen time, to the detriment of pacing and action and without compensating by more advanced character development. Such is the unfortunate case in The Great Magician–if the movie had been tightened up by 25% the flaws in its execution might have been reduced by the sheer energy of its breakneck pace (which has many times been the case in even the most celebrated Hong Kong films). Here the unforgiving two-hour run time stretches the unfocused storyline and the movie’s mugging and sight gags start to repeat themselves, ending up in a flaccid, badly paced, expensive looking spectacle. There’s no excuse for an action comedy starring Little Tony, Lau Ching-Wan, and Zhou Xun putting me to sleep, which this film did, which is a criminal waste of underused talent.

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Zhou Xun, decorative, The Great Magician, Derek Yee, 2012

If I’d been able to I could have easily seen many more films than these at HAF and the film festival, but since my visit was limited to a week I felt like I should spend some time outside in the sunshine instead of lingering in darkened rooms all day. Clearly I underestimated by not booking many more days (or weeks!) in Hong Kong, but alas, my responsibilities in the U.S. called me back home. Here’s hoping for another, longer trip some time in the near future.

June 12, 2012 at 11:20 pm 3 comments

Miles Ahead: Ann Hui’s A Simple Life and My Way

Deanie & Andy, A Simple Life, 2012

Now playing in San Francisco is Ann Hui’s A Simple Life, which was the number one film at the local box office when I was in Hong Kong last month. The film’s popularity was just rewarded at the Hong Kong Film Awards, where it won Best Picture Best Actor, Best Actress, Best Director, and Best Screenplay statues, adding to a slew of other accolades from the Golden Horse Awards, the Hong Kong Film Society, the Venice Film Festival, and many more. It’s an outstanding film that deserves all of the attention it’s been getting, and it represents director Hui at her best.

The film follows the relationship between domestic servant Ah Tao (Deanie Ip) and Roger (Andy Lau), her long-time employer. Ah Tao has worked for Roger’s family for three generations over several decades, caring for the children, cooking, and cleaning. Roger, a successful screenwriter, lives with Ah Tao in his family’s flat in Hong Kong after the rest of his family has migrated to the U.S. After Ah Tao suffers a stroke she decides to retire and Roger helps her to move to an old folks’ home in a former bank, with the elderly residents living in the former cubicles.

Hui’s sure directorial hand crafts what might have been an overwrought tearjerker into a film with emotionally honest core. Shooting digitally in modest locations Hui simply captures the quotidian life of her protagonists, which allows the complexities of their relationship to shine through.  Without lapsing into sentimentality or melodrama she manages to evoke a deeply emotional response, demonstrating the value of directorial restraint over bombast.

Chemistry, Deanie & Andy, A Simple Life, 2012

Andy Lau is quite good, although the movie takes pains to downplay his movie-star gorgeousness. At one point he’s mistaken for a repairman and another time a cabbie, but his perfect jawline and aquiline nose belie those conceits. As evidenced by her collection of Best Actress awards, Deanie Ip as Ah Tao is also outstanding. She also dresses down, with a plain-Jane haircut and dowdy cotton shirt and trousers disguising her glamour. Lau and Ip’s chemistry is excellent and believable and results in several truly affecting moments.

Anthony Wong, in red nail polish and a dramatically fluffy scarf, is amusing as the landlord of the rest home and Chapman To makes a brief cameo as a dentist. The denizens of the old-folks home are played by a who’s who of senior Hong Kong actors including Paul Chun, Helena Law Lan and many others.

The movie comments on the formation of families outside of traditional family structures. Both Roger and Ah Tao’s relationship and the bonds Ah Tao forms with the senior home residents replicate family and stress that kinship is not the exclusive domain of blood ties. This is emphasized by the neglectful relationship between one of the residents and her absent son, as well as another woman whose family abandoned her to assisted living in the senior home.

Andy & Deanie, Best Actor & Actress, 2012 Hong Kong Film Awards

The film also makes some interesting points about class divisions. Although Roger and Ah Tao are clearly very fond of each other they remain distanced as master and servant. Ah Tao continually insists on staying in her place as a servant, refusing money from her former employer and only reluctantly joining a family picture. Her room in the family flat apparently doubles as the laundry room.

Hui’s naturalistic filmmaking style is in full force, with the film’s mis-en-scene seamlessly meshing with my real-life afternoon walk through Wanchai. Seeing it in Hong Kong the film also took on more meaning for me, since in many middle and upper class families there domestic servants are the norm. Hui’s film does an excellent job dissecting the complexities of the master-servant relationship and filtering them through the realities of human emotion.

Masculin/Feminin, Francis Ng in My Way, 2012

At the Hong Kong International Film Festival I saw another Ann Hui movie, My Way, which is a 20-minute piece in Beautiful, a four-part omnibus sponsored by the HKIFF, and which just went live on youku.com today (it’s already had more than 1 million hits and has spawned a great debate about transgendered people in the comments section). Like A Simple Life, My Way focuses on ordinary people going through dramatic changes. In a case of extreme anti-typecasting, Francis Ng plays a transgendered woman on the eve of sex-reassignment surgery. His past roles in hypermasculine crime flicks like The Mission and Exiled dramatically underscore the intertwined nature of gender identity and confounds expectations of clear-cut gender roles—if  Francis Ng can convincingly portray a man who wants to become a woman, then that kernal of femaleness must lie within every male.

Since Ng’s character is a man dressed as a woman, it’s fine that his sleek black silk dress, stockings and pumps don’t quite disguise his muscular arms and broad shoulders. Francis more than compensates for his still-male physicality by his female gestures and expressions, embodying the duality of his pre-op transsexual character–he’s completely convincing in his gender-switching role.

The short film captures an impressive range of emotions in its brief running time, in no small part due to Francis’ intense and vulnerable rendition of a person trying to cope with difficult decisions. Jade Leung is also excellent as his bitter and estranged wife coming to grips with her husband’s transformation. A small but significant character, Ng and Leung’s adolescent son, has a particularly poignant and moving moment. After his father’s surgery, the son receives a text message announcing the operation’s success. Hui shows both the wife and son’s reactions—the wife weeps, while the son quietly accepts the news.

Like A Simple Life, the film also looks at the formation of familial ties outside of the bonds of blood kin, with Ng’s character supported by a circle of other transgendered women who are more caring than her supposed family members. As with many Hui films, there are no clear villains or heroes, just regular people dealing with stressful circumstances as best they can. Sweet and moving, this film captures the pain and joy of a difficult situation. Francis Ng is fearless in his vulnerable rendering of a fragile yet strong character who must make the difficult decision to break from societal expectations in order to find personal happiness.

Here’s the link to My Way in its entirety on youku.com.

A Simple Life now playing:

San Francisco

AMC Metreon 16

Cupertino

AMC Cupertino Square 16

April 16, 2012 at 5:50 pm 5 comments

Between Love & Hate: Love In The Buff and Marrying Mr. Perfect film reviews

Cherie & Jimmy living it up, Love In The Buff, 2012

Two romantic comedies that I saw on my trip to Hong Kong radically demonstrate two different aspects of popular Hong Kong movies today, and are possible indicators of the fate of the local film scene. Although once upon a time loyal Hong Kong audiences ardently supported local film productions, in the past ten or fifteen years interlopers first from Hollywood and now mainland China have been chipping away at the once indomitable Hong Kong film industry.

Pang Ho-Cheung’s Love in the Buff, the sequel to his 2010 film Love in a Puff, is a funny, smart flick that picks up shortly after the first film ends. The first film perfectly captured the irreverent lifestyle and language of young adults in Hong Kong and the sequel continues in the same vein. Instead of locating itself smack dab in the middle of Hong Kong’s young urban professional milieu, the film is set both in Hong Kong and Beijing, probably due co-production regulations as well as an attempt to appeal to the massive mainland Chinese audience. Yet despite the change in locale, the movie retains the kicky, profane humor that was so fun in the original. This is due in part to strong performances throughout the film as well as Pang’s clever script and sharp eye for the sleek yet realistic urban landscapes of the two cities.

Luv 'n' hate, with watermelon, Love In The Buff, 2012

In the sequel, protagonists Jimmy and Cherie face more difficulties in their romantic relationship, as they split up at the beginning of the movie (no spoiler here as it happens pretty early on). Both individually end up in Beijing as they follow their jobs to China’s capital city, and both begin new relationships there, but despite their best efforts they can’t seem to keep away from each other. Pang’s script arranges for a few key supporting Hong Kong characters to travel there with them so that the salty vernacular and attitude of the first movie remains intact. Miriam Yeung as Cherie is particularly outstanding as the foul-mouthed city girl stuck on Shawn Yue’s childlike Jimmy. There are also some extremely funny cameos that cannot be revealed without spoiling the fun but suffice to say that they’re cleverly utilized. One in particular resolves the storyline of ugly duckling Brenda (June Lam Siu-Ha) from Love In A Puff in an especially hilarious yet surprisingly heartwarming way.

Pang does a great job capturing the passionate and illogical attraction between Jimmy and Cherie, and places his main characters in a groovy contemporary milieu, surrounding them with fun and interesting supporting characters. It’s no wonder the movie has been going like gangbusters at the local box office, as its portrayal of contemporary Hong Kongers is flattering and appealing. In its opening weekend in Hong Kong Love In The Buff has grossed more than HK$5 million, making it a bona fide hit, and it opened here in the U.S. this weekend to positive reviews across the board.

Awwwww! Ronald Cheng & Gigi Leung, Marrying Mr. Perfect, 2012

On the flipside, while I was in Hong Kong I saw Wong Jing’s latest comic effort, Marrying Mr. Perfect, which stars Ronald Cheng, Gigi Leung, Chapman To, Eric Tsang, and Sandra Ng. With a cast like that it seems like the movie couldn’t help but be pretty funny but alas it was a fairly tepid and formulaic affair, with mistaken identities, catty office politics, and other contrivances making up most of the dumb storyline. All of the above actors have comic chops to spare but here they have to strain for laughs against the idiotic and derivative script. Apparently Wong Jing has lined up some hefty mainland China co-production financing for his next film projects, but if this is the future of Hong Kong filmmaking then things are looking pretty bleak.

I saw Marrying Mr. Perfect at a Sunday afternoon show with a bunch of local Hong Kong movie fans including bloggers and podcasters Paul Fox, Sean Tierney and Glenn Griffith, Ross (Kozo) Chen and Kevin Ma from lovehkfilm.com, and film programmer and writer Tim Youngs, on one of their weekly jaunts to see the latest Hong Kong releases. Afterwards we all spent teatime at the downmarket food court in the otherwise ultra-posh Elements mall and commiserated about the sorry state of Hong Kong films that this picture represented. Besides the seven of us there were about five other people in the small theater and the posters and trailers in the cinema were all for Hollywood movies like The Avengers (except for a trailer for another HK product, Love Lifting, which features Elanne Kong as a heartbroken Olympic weightlifter. Despite its sappy-looking premise the film actually made some money at the HK box office last week).

Chapman To working it, Marrying Mr. Perfect, 2012

This group of HK film aficionados echoed what other friends told me while I was in the SAR; to wit, no one in Hong Kong goes to Hong Kong movies any more. My buddy Jay had never heard of either Love In A Puff or its sequel, although he’s a pretty media-savvy guy, and another friend confessed that he only goes to see Hollywood product. If cheesy goods like Marrying Mr. Perfect are all that the Hong Kong film industry had to offer then it’s not surprising that local films can’t draw a local audience. But Ann Hui’s A Simple Life has been selling out theaters since its release a few weeks ago, and Love In The Buff  is also making some bank, so maybe it’s just a case of Hong Kong moviegoers no longer tolerating crappy local products like they used to.

Pretty people, Love In The Buff, 2012

It’s sad that there’s little brand loyalty for the indigenous film scene, but Hong Kong audiences have probably gotten accustomed to the high-gloss commercial fare from around the world that makes its way to local theaters. Last year two of the biggest films in HK were Aamir Khan’s Bollywood hit 3 Idiots and Giddens Ko’s Taiwan youth flick You Are The Apple Of My Eye, and of course most Hollywood blockbusters show up in HK cinemas as well. Interestingly enough, the films with more local flavor, including A Simple Life, Clement Chang’s Gallants, and Alex Law’s Echoes of the Rainbow, have successfully struck a chord with local audiences, so maybe the local film industry isn’t completely dead. With the restrictive requirements of mainland China co-productions threatening to further choke off the Hong Kong movie scene it will be interesting to see in the next few years whether an unadulterated Hong Kong movie aesthetic can survive.

Love In  The Buff now playing:

 AMC Metreon 16

101 Fourth St. San Francisco, CA 94103

AMC Cupertino Square 16

10123 North Wolfe Road, Cupertino, California

March 31, 2012 at 6:34 am 5 comments

Today, Every Year: Francis Ng Turns 50

The birthday boy on his half-centennial

Just a quick fangirl shout-out to Francis Ng Chun-Yu, whose fiftieth birthday is this week. Francis has had a remarkably long and vigorous career that spans four decades (!), from his humble beginnings as a bit player at TVB back in the 1980s through various villainous and supporting roles in the early 90s to his current status as one of Hong Kong’s most popular and well-known actors. He’s part of an amazing generation of male Hong Kong acting talent that came of age in the 1990s, many of whom are also turning fifty this year or in the next few years. Andy Lau Tak-Wah and Anthony Wong Chau-Sang were also both born in 1961—soon to follow are Tony Leung Chiu-Wai (b. 1962), Stephen Chow Sing-Chi (b. 1962), Jet Li (b. 1963) and Lau Ching-Wan (b. 1964). Tony Leung Kar-Fai and Simon Yam each turned fifty a few years ago. All of these actors are still working today, although some of their output has decreased since the heyday of Hong Kong cinema back in the 1990s, and all of them are at the top of their game in terms of skill, talent, charisma, and screen presence.

Francis in naugahyde, Laughing Gor 2 premiere, Dec. 20, 2011

What’s perhaps less evident from this list is the dearth of similar talent in the generation of Hong Kong actors following them. The decline in Hong Kong film production in the past fifteen years since the 1997 handover has mightily impacted the development of stars of note, as indicated by the diminishing talent pool among younger actors. Of Hong Kong movie stars in their forties only Louis Koo Tin-Lok is a legitimate leading man, and his acting chops are nowhere near as masterful as the aforementioned group. Of actors in their thirties Daniel Wu and Nicholas Tse Ting-Fung ably fill the movie star niche, but their range and output have yet to reach the scale and impact of the class of 1961-64.

What’s also notable is that, although all of the abovementioned fiftyish movie kings are actively working today, only a handful of their female counterparts are likewise gainfully employed. Most female Hong Kong stars of the same generation have either retired (Brigitte Lin Ching-Hsia; Joey Wang; Chingmy Yau), or moved to television (Anita Yuen; Cheung Man). Anita Mui Yim-Fong died of cervical cancer in 2003. Of those female stars who came of age in the 1990s only Maggie Cheung Man-Yuk, Carina Lau Ka-Ling, Sandra Ng Kwan-Yu, and Michelle Yeoh are still working, although Maggie hasn’t really starred in a film since 2004.

Micheal Tse & Francis Ng meet the press, Laughing Gor 2 premiere, Dec. 20, 2011

So hats off to Francis on the anniversary of his solstice birth—show business is a cruel mistress and it’s a testament to his talent, determination, and savvy that he’s survived so long as a top star. Fingers crossed that he’s on the silver screen for at least four more decades to come.

UPDATE: Okay, I just realized that I accidentally left off Donnie Yen (b. 1963) in my above list. I’m not a huge Donnie fan but he is a big deal now so he’s gotta be included. But it also points out the glaring hole in the martial arts movie world–who will follow Donnie? Wu Jing? Andy On? Collin Chou, for god’s sake? Slim pickin’s–

December 22, 2011 at 8:47 am 6 comments

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