drunken master ii (chia-liang lu, 1994)

Or, as it's known in the U.S. and on Netflix, The Legend of Drunken Master.

It was Jackie Chan's 65th birthday on Sunday, so I took in one of his classics, the sequel to Drunken Master. Age is a funny thing in movies. Given the things Jackie has done to himself over his career, it's amazing that he's still alive. In Drunken Master II, Chan was already 40, although he plays a much younger character (and pulls it off ... when you are a physical marvel like Jackie, age seems less important, at least at 40). His co-stars include a few Hong Kong greats ... Ti Lung (A Better Tomorrow and many others) plays his father, although in real life, he's only 8 years older than Jackie. And the magnificent Anita Mui (The Heroic Trio) plays his step-mother, and she was actually 9 years younger than Chan.

And, since I'm listing cast members, Andy Lau has a cameo that points to the numerous alternate versions that we in the States get of HK movies. The copy I watched, on Netflix, was in Cantonese with English subtitles, but Lau's character was a counterintelligence officer, which was supposedly true only in the American dubbed version. Whatever ... it was a good print, and if the soundtrack was different from the original, I couldn't tell (not saying it was different, just that it didn't seem to matter). Here's a look at some of the changes made to the American version ... I like this because you get a brief chance to see what Anita Mui does in Drunken Master. The "Madonna of the East" really shines, stealing scenes left and right. She was a true superstar, and it shows here. She makes every scene better.

As for the movie itself, Chan relies less on crazy stunts than usual. "Drunken Master" refers to a style of martial arts, and this film, like its predecessor Drunken Master, is a martial arts film more than anything else. There are some eye-popping scenes in Drunken Master II, and I don't want to overstate the difference between this and, say, Armour of God II: Operation Condor.

The big finale features a sensational battle between Jackie's drunken master and an imposing villain who is played by Jackie's real-life bodyguard at the time, Ken Lo. Even by Chan standards, it's amazing ... Roger Ebert said,"It may not be possible to film a better fight scene."

If you're thinking of a double-bill, the obvious match is Drunken Master. If you're looking for another Jackie Chan movie to watch, I like to recommend Police Story 3: Supercop with Michelle Yeoh.


double bill: john woo meets jacques demy

(These were suggested as a double-bill at The Criterion Channel.)

Last Hurrah for Chivalry (John Woo, 1979). I don't entirely buy the pairing of these two movies. But Woo loves musicals, and while there are no songs in Last Hurrah for Chivalry, there is a balletic feel to some of the sword battles. In the end, I just watched it as a Woo fan who hadn't seen this one before. It came seven years before A Better Tomorrow changed everything, and while there is some novelty seeing sword play in place of shootouts, the film is more interesting as an early look at the friendships among men that is one of the themes Woo is most famous for. The film moves along briskly, the characters are detailed enough for us to care about them, and the exploration of male camaraderie, if low-key compared to Woo's heroic bloodshed classics, at least hints at Woo's future. The women in the film are largely irrelevant, despite the attempt in the trailer to make it seem like there is some important heterosexual love. Not up to Woo's classics, but enjoyable just the same. And the Sleeping Wizard is the best.

The Umbrellas of Cherbourg (Jacques Demy, 1964). Very much of a piece with The Young Girls of Rochefort, which Demy made three years later. The primary common thread is that both movies feature dialogue that is 100% sung. It sounds annoying, but you quickly get used to it. It matters that Cherbourg is such an honest portrait of romantic love ... it would be worth watching without the music (I might say it would be better, but the music is part of the charm, and there's a recognizable-to-this-day song in Michel Legrand's score). David Thomson, writing about this movie, noted, "So often, the realist's complaint about the musical is that awkward moment where the actors take a deep breath, the story goes on hold, and 'it' breaks into song. What better cure for that hesitation, or the nausea that attends it, than having every line of dialogue sung?" Makes sense to me, although I've found it easy to resist more recent attempts at this kind of "complete" musical. Meanwhile, in commenting on the music, we should not lose site of the look of the film, which is full of gorgeous, irresistible colors. It's hard to believe we're looking at a real city, which I mean in this case to be a compliment. #173 on the They Shoot Pictures, Don't They list of the top 1000 films of all time.


revisiting chungking express (wong kar-wai, 1994)

This was a bit of a test in a couple of ways. First, it's the latest Movie of the Week on the upcoming Criterion Channel, so I felt obliged to stream it, even though I own the Criterion Blu-ray. Second, I wanted to try out my new computer with its 4k graphics. This was also a stretch, since the Channel wasn't in 4k, so the movie probably looks better on the TV in Blu-ray. But I had to play with my new toy.

I wrote about Chungking Express before, and outside of liking it even more this time, I don't have much to add. Interesting to note how critical opinion changes ... when I wrote about the film in 2010, it was #320 on the They Shoot Pictures, Don't They list of the top 1000 films of all time. Now it has moved up to #214. This reflects my own opinion, since, as I noted back then, I've liked Chungking Express more every time I've seen it. Brigitte Lin and Tony Leung are great, but I expect no less from those great actors. (Leung really is in my pantheon ... I've given my highest rating to In the Mood for Love, Hard Boiled, and Red Cliff, and have never given one of his movies a bad rating ... his average is 8.5/10.) Faye Wong is such a bright spot ... she was/is a singer, she had done some acting, mostly on TV, but Chungking Express was her breakout role in movies. (She has only acted in a few features since.) She commands the screen, and being able to do this when sharing a scene with Tony Leung isn't easy.

One of my favorite film-based videos is this one, created out of Faye Wong's hit version of "Dreams" by The Cranberries:

It's funny, in the movie, the song most identified with Faye is "California Dreaming", but it's her version of "Dreams" that has always stuck with me.

It amazes me that Chungking Express is now 25 years old. The actors are so young ... Tony Leung was 32, Faye Wong was 25, Takeshi Kaneshiro (unfairly getting less attention than the other stars) was 21, and Brigitte Lin, the veteran, was 40.

How did the test go? The Criterion Channel picked a good one for their second Movie of the Week, and the new 4k 27" screen looked great, even in a non-4k film.


what i watched last year

To copy what I said at this time in 2015: “A summary, sorted by my ratings. I tend to save the 10/10 ratings for older classics, so a more recent film that gets 9/10 is very good indeed. Movies that are just shy of greatness will get 8/10. I waste more time than is necessary trying to distinguish 7/10 from 6/10 … both ratings signify slightly better-than-average movies, where if I like them I’ll pop for a 7 and if I don’t, I’ll lay out a 6. I save 5/10 for movies I don’t like, and anything lower than 5 for crud. This explanation comes after the fact … I don’t really think it through when I give the ratings. They skew high because I try very hard to avoid movies I won’t like … if I saw every movie ever made, my average might be 5/10, but I skip the ones that would bring the average down. Anything I give at least a 9 rating is something I recommend ... might sound obvious, but if someone is actually looking to me for suggestions, that limits the list to 14.  So I’ve included links to my comments on those movies.” (Movies in bold in the 9-10 range are ones I was seeing for the first time.)

10:
In the Mood for Love
Performance

9:
The Ascent
Black Panther
The Death of Mr. Lazarescu
Dunkirk
Faces Places
First They Killed My Father
Five Easy Pieces
Moonlight
Mudbound
My Neighbor Totoro
Pickpocket
Strong Island

8:
American Honey
The Babadook
Before Sunrise
Day for Night
Dressed to Kill
First Reformed
Gaslight
Gertrud
The Guilty
Gun Crazy
The Incredible Shrinking Man
India's Daughter
Listen to Me Marlon
Local Hero
Logan
The Look of Silence
A Matter of Life and Death
Memories of Underdevelopment
Private Life
Sorry to Bother You
The Spirit of the Beehive
Springsteen on Broadway
Supercop
The Thin Man
Three Billboards Outside Ebbing, Missouri
Widows
Yellow Submarine

7:
Avengers: Infinity War
The Big Sick
Black Mirror: Bandersnatch
Bombshell: The Hedy Lamarr Story
The Brink
Cat People
Crazy Rich Asians
Creed
Darkest Hour
Divines
El Topo
Flying Down to Rio
Grand Hotel
Hell Is for Heroes
Hereditary
Hidden Figures
Horror of Dracula
Icarus
If You're Not in the Obit, Eat Breakfast
Lost City of Z
The Magnificent Seven (1960)
Man on the Moon
The Man Who Fell to Earth
The Man Who Knew Infinity
The Man Who Knew Too Much
Morvern Callar
Ms .45
Nothing Sacred
On Body and Soul
Personal Shopper
Set It Off
Seven Days in May
The Square
Syndromes and a Century
Tarzan and His Mate
The Time Machine
Tropical Malady
Venom
Watchmen
Zombieland

6:
Atomic Blonde
Bo Burnham: what.
The Circle
Colossal
Diamonds Are Forever
Dogville
The Dressmaker
The Equalizer
The Equalizer 2
A Girl Like Her
Glastonbury Fayre
Holiday Inn
Hostiles
The Lion in Winter
Miami Vice
Murder on the Orient Express
Spring Breakers
The Spy Who Dumped Me
Star Wars: The Last Jedi
Welcome Home, Roxy Carmichael

5:
Behave Yourself!
The Black Scorpion
The Day of the Triffids
Dishonored Lady
Enemy
Margot at the Wedding

Totals over the years:

2010: 86 seen (7.2 average rating)
2011: 125 (7.3)
2012: 113 (7.1)
2013: 110 (7.5)
2014: 127 (7.4)
2015: 136 (7.1)
2016: 82 (7.4)
2017: 109 (7.0)
2018: 109 (7.2)


still in the mood for love (anthony bourdain edition)

I revisited In the Mood for Love after watching an episode of the late Anthony Bourdain's series, Parts Unknown. I watched Bourdain at the encouragement of a friend who had asked me to do so earlier this year when Bourdain died. He specifically suggested the Hong Kong episode, and I finally got around to it. I get recommendations from people all the time, and sometimes it takes me forever to get to them ... a couple of weeks ago I watched a DVD someone had given me a few years ago, for the first time. It takes forever ... but I keep track, and I do get to them eventually. (Hint: the comments section is always a good place to make requests.)

I know very little about Anthony Bourdain. I know he died. I know he was partners with Asia Argento. What I know of his work comes completely from when he wrote for Treme. I also knew nothing of the series Parts Unknown. Honestly, I thought it would be a food show and nothing more.

Well, it was great. And when it began, and I heard music that sounded a lot like In the Mood for Love, I was instantly happy. Then I found out Christopher Doyle, long-time collaborator with Wong Kar-Wai and the co-cinematographer for In the Mood for Love, is in the episode. Watching Doyle, I couldn't believe I'd never encountered him anywhere but behind the camera, so to speak. I love his work, and left it at that. To find out he is such a character fascinated me. Of course, I had to look him up, and found that he is famously rambunctious. I felt at times that I was watching a camera-toting Keith Richards, and liked finding out that he has called himself the Keith Richards of cinematographers. Like I say, I can't believe it took me this long to learn about him as a person.

There are things I don't think I quite get, given I am coming to Parts Unknown cold. It was a bit creepy knowing this was the last episode shown before he died. It was also creepy knowing Asia Argento directed it, given her own recent problems. I guess I'm lucky I found it, since apparently CNN removed her episodes from their streaming site.

I often think, when watching food or travel shows, that I wish I was adventurous. I don't like to travel to unfamiliar places, and my taste in food is notoriously narrow. Seeing Bourdain wandering around HK and eating any damn thing they put in front of him reminds me of how limited I am.

I admit, this didn't make me want to immediately watch more of the episodes of the show, but it did make me want to watch In the Mood for Love yet again. That film was #38 on my Fifty Favorites list of a few years ago. At the time, I wrote:
In the Mood for Love is a perfect title for this movie. The two main characters are most definitely in the mood; they also don't ever get beyond being in the mood. Repressed emotions have rarely been so charged as they are here. While on one level, "nothing really happens," Wong Kar-wai does a great job of making us anticipate what is about to happen. Of course, our expectations go unfulfilled.

This time around, I think I better appreciated why some people wouldn't love the film as much as I do. The haunting waltz that is played throughout the film might simply seem repetitious, and those unfulfilled expectations might just be irritating. Not for me, I must add. As beautiful as the film is to look at, it takes an extra leap because of its stars. As I once said, "The plot, whereby a man and woman discover that their respective spouses are having an affair, isn’t particularly far-fetched. But they are played by Tony Leung Chiu Wai and Maggie Cheung, two of the best-looking actors in the world, and you can’t help wondering why anyone lucky enough to be married to them would have a roving eye." Ultimately, I'm not sure In the Mood for Love felt different when seen partly through the filter of the Bourdain show. But the two make a perfect, if tragic, pairing.

Here is an interesting video essay on the movie from "Nerdwriter1":


tell me something new

Diamonds Are Forever (Guy Hamilton, 1971). This was the 7th film in the Bond canon, and the last with Sean Connery until his return in the non-canon Never Say Never Again. It followed the only George Lazenby Bond, On Her Majesty's Secret Service, which had everything except a good actor playing 007. Connery returns to the worst of his first six ... it's not up to From Russia with Love or Goldfinger ... heck, it's not up to You Only Live Twice. Jill St. John is a decent Bond Girl, there are a couple of goofy bad guy partnerships, and Jimmy Dean plays Howard Hughes. But it's nothing you haven't seen before, if you'd watched the ones that came before it. 

The Brink (Jonathan Li, 2017). We saw this at an HK festival ... it came out in Asia last year, but is only now showing up in the U.S.. It's Li's first turn as a director, and he is brutally efficient. The fight scenes are well-choreographed, and the two leads, Jin Zhang and Shawn Yue, were charismatic. But the plot existed mainly for the fight scenes ... there was none of the over-the-top "heroic bloodshed" of HK gangster movies in the past. It's a good movie that doesn't give you any real reason to watch it. Like Diamonds Are Forever, it's nothing you haven't seen before, if you watched the ones that came before it. 

 


what i watched last year

To copy what I said at this time in 2015: “A summary, sorted by my ratings. I tend to save the 10/10 ratings for older classics, so a more recent film that gets 9/10 is very good indeed. Movies that are just shy of greatness will get 8/10. I waste more time than is necessary trying to distinguish 7/10 from 6/10 … both ratings signify slightly better-than-average movies, where if I like them I’ll pop for a 7 and if I don’t, I’ll lay out a 6. I save 5/10 for movies I don’t like, and anything lower than 5 for crud. This explanation comes after the fact … I don’t really think it through when I give the ratings. They skew high because I try very hard to avoid movies I won’t like … if I saw every movie ever made, my average might be 5/10, but I skip the ones that would bring the average down. Anything I give at least a 9 rating is something I recommend ... might sound obvious, but if someone is actually looking to me for suggestions, that limits the list to 15.  So I’ve included links to my comments on those movies.”

10:
The Killer
Jules and Jim
Mad Max: Fury Road: Black & Chrome Edition
The Maltese Falcon (1941)

9:
Don't Look Now
Get Out
I Am Not Your Negro
Le Samouraï
The Magnificent Ambersons
My Neighbor Totoro
O.J: Made in America
Stories We Tell
The Straight Story
Sunset Blvd.
The Thing from Another World

8:
13th
20th Century Women
Andrei Rublev
The Dreamers
Fat Girl
Girlfriends
Hail, Caesar!
The Handmaiden
Hell or High Water
The Host
I Walked with a Zombie
Journey to Italy
Klute
Lady Bird
Melancholia
Okja
Pat Garrett and Billy the Kid
Persepolis
Real Women Have Curves
The Southerner
Terminator 2
Them!
Three
To Walk Invisible
Train to Busan
Vengeance

7:
10 Cloverfield Lane
2 Days in Paris
The Amazing Mr. X
Bad Kids
The Bare-Footed Kid
Bedlam
The Black Cat
Blade Runner
Doctor Strange
Don't Breathe
Drug War
The Fly
The Happiness of the Katakuris
Gimme Shelter
High Noon
Ip Man 2
Jesse James
Johnny Guitar
Lifeline
The Lobster
Love Actually
Marshall
My Night at Maud's
The Panic in Needle Park
A Place in the Sun
Punch-Drunk Love
Road to Morocco
The Set-Up
Some Came Running
Spielberg
Stalag 17
Stalker
The Thing
To Catch a Thief
Uncle Boonmee Who Can Recall His Past Lives
The Unknown
Village of the Damned
Wanda
Wonder Woman

6:
The Best Offer
Biker Boyz
Colossal Youth
Cop Car
Genocide
Guardians of the Galaxy Vol. 2
Guess Who's Coming to Dinner
The Haunted Strangler
In the Heart of the Sea
The Intervention
Jesus' Son
The Mad Monk
The Maltese Falcon (1931)
The Mirror
Rudderless
Shoot 'Em Up
The Time Travelers
The Vampire Lovers

5:
Return of the Fly
A Woman, a Gun, and a Noodle Shop
Zabriskie Point

4:
Anything Goes
The Ghost Galleon
The Screaming Skull

3:
The Corpse Vanishes
Final Girl

2:
Godzilla's Revenge
Spies-a-Go-Go

1:
Electronic Lover

Totals over the years:

2010: 86 seen (7.2 average rating)
2011: 125 (7.3)
2012: 113 (7.1)
2013: 110 (7.5)
2014: 127 (7.4)
2015: 136 (7.1)
2016: 82 (7.4)
2017: 109 (7.0)


lifeline (johnnie to, 1997)

I finished my Johnnie To mini-festival with this one, which can be described in shorthand as Backdraft in HK. The thing is, I really hated Backdraft (2/10 ... don't even remember why, and it should get points for providing the soundtrack to the original Japanese Iron Chef).

The first hour of Lifeline presents us with the firefighters who will feature in the story. It's done well enough, I suppose ... some of the characters are interesting. And there are some brief firefighting scenes interspersed with the melodrama. But I was impatient ... this kind of character "development" usually bores me, since it is often shallow, and merely postpones the good stuff.

In fairness, the good stuff, when it finally arrived, was improved by our knowing the various characters, so I should probably leave well enough alone.

Because the good stuff is phenomenal. The last 40 minutes are gripping, like watching one of the better Mad Max movies, only with fire instead of cars. A large building is on fire, and it's one thing after another. The firefighters never get ahead of the game, and even when they stall the fire momentarily, another crisis arises. It's like an alien monster invasion movie, where everything the army tries against the aliens fails, and hope fades to nothingness. I don't know who deserves credit for the excellence here, so I'll just name some of the likely suspects: director Johnnie To, of course; cinematographer Cheng Siu-Keung; editor Wong Wing-Ming; and action director Yuen Bun. The music by Raymond Wong adds a lot, as well. There's no point in breaking down the various segments of the fire scene. Just know that you likely will never see any similar scene that matches this one.

Lau Ching-Wan is excellent in the lead role, and everyone else is good enough. It takes a bit of patience to get through the first hour, but that patience is rewarded when the real action starts. 7/10.

 


the bare-footed kid (johnnie to, 1993)

As far as I can tell, this is Johnnie To's only period martial arts movie. It's a remake of Disciples of Shaolin, a mid-70s film. Not having seen the original, I have nothing to add to that.

On the face of it, there are a lot of appetizing elements to The Bare-Footed Kid, beyond it being a Johnnie To film. The cast includes the legendary Maggie Cheung, Kenneth Tsang (who has been in close to 200 movies), and Ti Lung, a star in many of those 70s martial arts movie (he had the skills) who had a career resurgence in A Better Tomorrow. The title character was played by Aaron Kwok, a huge star who I admit I'd never heard of. The cinematographer was Wing-Hang "Horace" Wong. And the stunts were directed by Liu Chia-Liang.

Yet during the early parts of the movie, I felt a bit unimpressed. The look of the film was gorgeous, especially the vivid colors, and I'm always ready to watch Maggie Cheung. But to my untrained eye, Wong had to work hard to make Aaron Kwok look like he was kicking ass ... lots of cutaway shots and wire-fu.

But The Bare-Footed Kid grew on me. As is usual for me, I had a hard time following the plot, but since everything looked good, I couldn't complain. And Cheung and Lung were acting at the highest level ... they gave the film class. A rather violent ending was a bit surprising, but overall, Maggie Cheung and Ti Lung made me forgive a lot. And did I mention the colors?

One final note. I found this streaming on Amazon, and the only option was dubbing. It was kind of appropriate, like I was watching something from the 70s. Except the dubbing was actually pretty well done. 7/10.

 


three (johnnie to, 2016)

This is Johnnie To's most recent film, and he certainly hasn't lost his touch. Three is an economical 88 minutes long, and despite the previews, it takes more than an hour for the special To violent scenes to really burst. Until then, Three is a medical drama that takes place in a hospital. There is some tense suspense, because one of the patients is a dangerous thug with information the police want, so even as the movie seems dedicated to sticking with the medical angle, you keep expecting something awful to happen.

Actually, something awful happens right away, as an overworked doctor (Zhao Wei) botches a brain surgery. The three main characters of the title are the doctor, a cop, and the thug, and they are all working their own agendas, with the doctor and the cop trying to save people and the thug just going for what he wants. Various other patients also have distinctive personalities ... it's amazing how many characters we get to know in such a short movie.

The simmering pot finally boils over in the last 20 minutes, including a remarkable shootout in the hospital that seems partly like an homage to Hard Boiled. After To spends most of the film seemingly hiding in the shadows, he cranks up the style (this has also been compared to The Wild Bunch, for the way it takes its time getting to the slaughter).

Zhao Wei (aka Vicky Zhao) is great as the obsessive doctor, but Wallace Chung has the showiest role as the thug, and he plays it just this side of over the top. This is one of To's better movies. 8/10.