Posts tagged ‘tony leung chiu wai’
So I got on the plane from Frankfurt to SFO on Sunday and I was horrified to discover that there were no back-of-the-seat individual video screens on the flight. I could not remember the last time I was on a flight longer than an hour without personal video service and since I was staring an 11-hour transatlantic flight in the face, I was pretty pissed off at myself for booking on United Airlines, which is apparently so impoverished that it can’t afford to upgrade its fleet to 21st century standards. That bit of first-world bitching aside, I started to think about the many films I’ve seen lately on those tiny little embedded monitors, so herewith follows the first in an irregularly scheduled series of reviews from the airplane movie film festival. All details from a haze of jet lag, leg cramps, and crappy airplane food.
The Great Gatsby: a fun and spectacular adaptation of F. Scott Fitzgerald’s classic book, this one by the reliably lurid Baz Lurhmann, who transformed the book into a video game complete with swooping camerawork, hiphop, and Leo DeCaprio brooding as the titular character. Toby Maguire not in a spidey-suit is good as Nick Carraway, the Jazz Age babe in the woods. Another little surprise was Bollywood legend Amitabh Bachchan in a small role as a Jewish bootlegger (since apparently Indian is the new Oriental). I haven’t read Fitzgerald’s book (what?) and I have no allegiance to its plot particulars so I enjoyed the movie as a standalone piece, with the Jay-Z soundtrack and anachronistic mylar party streamers adding to the shiny fun.
The Silent War: Tony Leung Chiu-wai as a blind guy helping the military crack codes in 1949 China. I either missed the plot point or it was never clarified as to whether Tony was helping out the Communists or the Nationalists, and I missed the last twenty minutes of the movie due to starting the film too late (a recurring error on my part), but the art direction was pretty authentically period and Tony and Zhou Xun, who plays a sleek Chinese spy, both acquit themselves pretty well. My movie-viewing experience probably suffered from seeing the film on a tiny digital screen, so if I get the chance I’ll watch it again to get the full effect of the nice cinematography and slick 1940s costume design, since I love the look of peplum skirts, finger rolls, and tweed coats.
Star Trek: Into Darkness. A dumb and dreadful followup to the excellent Star Trek reboot from a few years back that features a very Anglo Benedict Cumberbatch as Khan, which is weird since the character was memorably portrayed in previous incarnations by Mexico-born Spaniard Ricardo Montalban. Cumberbatch is properly menacing and he bellows in his best Shakespearean actor mode, but since Montalban’s archetypal Khan is permanently etched in my brain, Benny’s blue peepers and pale skin threw me off. Zachary Quinto continues his excellent vocal mimicry of Leonard Nimoy (who gets a brief cameo, looking very aged) and Chris Pine grimaces as young Captain Kirk. British actress Alice Eve is good as Dr. Carol Wallace, but her character’s braininess doesn’t preclude her a fan-service scene in her underwear. As a busty blonde she also has a passing resemblance to her TOS predecessor, Yeoman Janice Rand, which means that she & Capt. Kirk will probably get busy some time in future installments. Zoe Saltana as Lt. Uhura mostly exists to be the emotional proxy for the stoic manly men in the movie since every time a crisis comes up the movie cuts to her looking shocked or sad.
Iron Man 3: another film viewing tragically cut short due to my inept movie-watching time management. Robert Downey Jr. swaggers and smirks and Gwyneth Paltrow takes up space, and I suspect one’s enjoyment of the film is directly related to how much you like RDJ’s schtick. He’s a really good actor but I’m having trouble remembering the last non-Iron Man movie I’ve seen him in lately (Zodiac? Sherlock Holmes?). I wanted to see the end of the movie to find out more about The Mandarin, the neo-Orientalist character here presented as a middle eastern/western Asian character by half-desi actor Ben Kingsley. But alas my seatback screen went haywire halfway into the movie and I couldn’t get it to work in time to watch the whole thing. So I took a nap instead.
A Werewolf Boy: a charming little South Korean fable about a girl and her lycanthrope, here played with shaggy-haired K-pop charm by Song Joong-ki. This movie was one of the top grossing films in S. Korea last year so, although teen romances aren’t usually my thing, I wanted to check it out to get a sense of the South Korean pop culture gestalt. Although it’s supposed to be set “forty years ago,” around the 1970s, there were some glaring anachronisms in the art direction and costuming, but despite its shoddy mise-en-scene the movie was a fun little timepass. This is the second wolf-girl teen romance movie from Asia that I’ve seen recently, the other being Mamoru Hosoda’s animated movie Wolf Children, so I’m thinking—are werewolves the new vampires? Or if I want to put a cultural studies frame around it, what do the popularity of these films say about the ongoing transnational hybridity of Asian identities? Sorry, been writing a lot of academic proposals lately so my mind is locked in theoryspeak.
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.
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.
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.
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.
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.
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.
Just a quick note about this year’s Hong Kong Film Awards, which took place this Saturday. Wilson Yip’s biopic Ip Man, about the martial arts legend, took Best Picture, with Ann Hui winning Best Director for The Way We Are, her docudrama about the New Territories town of Tin Shui Wai. The Way We Are, with its mostly non-professional cast, also won three other awards including Best Actress, Best Supporting Actress, and Best Screenplay. Nick Cheung (The Beast Stalker) nabbed his first Best Actor statue, adding it to his award from the Hong Kong Film Critics’ Society. Cute little girl Xu Jiao won Best New Performer for her crossdressing turn as Stephen Chow Sing-Chi’s son in Chow’s sci-fi blockbuster CJ7. Unfortunately, according to the Golden Rock’s liveblog she gave a horribly fake acceptance speech that included fake crying. I guess child stars are the same all over the world.
Interestingly, in a repeat of the Golden Horse Awards last year, John Woo’s lavish epic Red Cliff was shut out of the major acting and directing awards (including Tony Leung Chi-Wai’s failure to win his sixth Best Actor award). Red Cliff did clean up in several creative categories such as Best Art Direction and Best Visual Effects, winning five awards. Apparently this year’s nominations were only for Red Cliff 1—Red Cliff 2 will be eligible again next year so maybe then it will make out a little better in the major awards. Ironically, Red Cliff is probably the only film among the award winners that will receive international distribution.
Poor Simon Yam, nominated for Best Actor for Johnnie To’s Sparrow, went home empty-handed again. But he got to wear a natty two-toned sharkskin suit, white spats, and a spider-motif tie, and looked way too dashing for a man in his fifties. Sadly, Sparrow also lost (to Red Cliff) for Best Film Score, which just goes to show that not everyone appreciated its awesome Martin Denny/Michel Legrand/Henry Mancini homage.
For a full listing of the awards go here.
For lots more pix of celebrity finery go here.
For a great liveblog of the event go here.
And here’s the trailer for Sparrow, for a sample of its excellent soundtrack: