The Storm Riders (1998) December 6, 2007
Posted by Cal in : Action, Wuxia, 1990s films , 10 commentsDirector: Andrew Lau Cast: Ekin Cheng; Aaron Kwok, Sonny Chiba, Wayne Lai, Kristy Yeung Territory: Hong Kong Production Company: Golden Harvest
Rarely, if ever, will you find a Hong Kong movie that divides opinion as much as Andrew Lau’s 1998 adaptation of Ma Wing-Sing’s comic book of the same name. It was the first Hong Kong CGI bonanza, and it probably wouldn’t be an exaggeration to say that if you have a beef with any aspect of modern day movie making in Hong Kong, you can trace it back to this movie.
The film’s detractors cite many faults with the film, but one universal gripe is the plot - or the lack of one. What it boils down to is a pair of orphans (Ekin Cheng as Wind and Aaron Kwok as Cloud) who are “groomed” by Conqueror (Japanese legend Sonny Chiba) because the soothsayer Mud Buddha (Wayne Lai) decrees that with these two disciples will bring him great power for a full decade. The kids fall in love with the same woman and it all ends badly (for all concerned) and Conqueror finally challenges Sword Saint (Anthony Wong) from the unchallenged City to a duel. Mud Buddha then drops a bombshell about the other half of the prophesy about Wind and Cloud.
Which is a workable, if basic, plot. But then the film’s origin starts to get in the way. I’ve never read the comic book – I bought loads of issues to help with my Chinese reading and eventually discovered I was way out of my depth (I bought a couple of the far inferior US translations and discovered, to my surprise, that they were no easier!) so mainly just looked at the fantastic pictures. But I’m guessing that there are a lot of characters and events here from the comic book that get crammed in just to satisfy fans. What then happens is the film becomes episodic and confusing, with minor characters popping up, doing something (presumably) important and then disappearing forever.
One thing that is sure to date a movie is making it so bang-up-to-date as possible, and Storm Riders suffers from this more than you’d think. Although less than a decade old, it looks too much like a product of its time, and nowhere is this more evident than in the opening title sequence, which now looks like a graphical cut scene from a PlayStation One game. All of the CGI tends to be a little ropey, which is a major problem as the production relies so heavily on it.
However, Storm Riders tries damn hard to be entertaining, and was a necessary step in the evolution of Hong Kong movies, which had been suffering from dwindling cinema audiences for years prior to this film. Although the film looks dated now, it certainly did the trick in getting people back watching local fare over the latest glossy Hollywood blockbusters.
I remember seeing this for the first time and thinking it was just totally incomprehensible, and this seems to be a common reaction. What this film insists upon is a second (and maybe a third) viewing, and things definitely make a hell of a lot more sense. There is an interesting relationship between the two main characters and their beloved Charity (an early appearance by Kristy Yeung) and the two are evidently intended to be two sides of the same coin with the emotional, romantic Wind and the sensual, lustful Cloud.
Over at the Hong Kong Movie Database, which is an invaluable resource for anyone interested in Hong Kong films, there are many reviews for this film but one review sums up the depth of feeling that this film can engender. It was written by a user called MilesC, and he gives the film a very poor review before appending this:
Post-script: It’s been six months since I wrote the above review, and well over a year since I saw the film. It’s six o’clock in the morning, and I can’t sleep because I CAN’T STOP THINKING ABOUT HOW MUCH I HATE THIS MOVIE. The fact that a 130 minute movie could contain so little plot, action, or character development and ACTUALLY BE FINANCIALLY SUCCESSFUL makes me want to destroy the entire planet. I HATE THIS MOVIE! Andrew Lau, one day I’ll come for you.
I’m guessing he steered well clear of the film after writing that, but I can’t help wondering if he watched it again whether he’d feel quite so strongly about it. Likewise, I’m guessing a lot of people who loved it upon release now find Storm Riders a little creaky and rough around the edges. I’d say I’ve grown to love it over the years, but there are plenty of better examples of this type of film nowadays.
The Magnificent Swordsman (1968) July 26, 2007
Posted by Cal in : Wuxia, 1960s films , 1 comment so farDirector: Cheng Kang, Yueh Feng Cast: Wong Chung-Shun, Shu Pei-Pei, Tien Feng Territory: Hong Kong Production Company: Shaw Brothers
Lone swordsman Jiang Dan-Feng (Wong Chung-Shun) is ambushed by a pair of bandits and quickly despatches them. One of them, as he is dying, asks Jiang to take his personal effects to his sister. This being a Wuxia film, our hero is bound by a strict code of honour, and he agrees. The bandit’s sister, Xiu Xiu (Shu Pei-Pei), is surprisingly forgiving and tells him that he got mixed up in a bad crowd of robbers before he died. As it happens, these self-same bandits are threatening to tear up the village at any moment, and Jiang prepares to defend it despite being despised by the town folk for killing Xiu Xiu’s brother.
Wong Chung-Shun’s place in cinematic history is secured. Although you might not know the name, even the most casual of Hong Kong movie fans has seen him and he will forever be remembered as the guy who betrays Bruce Lee – not once, but twice!
But before he had relatively small roles in Fist of Fury and Way of the Dragon, Wong Chung-Shun was a stage actor who also appeared in many films, and I couldn’t resist seeing him play the lead in this Wuxia film from the 60’s.
Magnificent Swordsman tries very hard on every level. There’s a definite attempt to copy the cinematic style of King Hu in almost every outdoor shot, with tonnes of mist and smoke flying about and some wide-shots that would have made the Master proud. It’s also strikingly like a Japanese film at times particularly the way the lead dresses, acts and the style of the combat scenes. There are also some good sets to look at, with the bandits’ lair being particularly noteworthy. Strangely, though, some of the camera work is pretty dodgy, with shaky shots here and there that occasionally hamper the atmosphere.
One definite highlight is the musical score, which is so “influenced” by Morricone that you’ve got to smile. If you take a sample from any part of the score and play it to anybody and ask what genre film it came from, they will undoubtedly say it was from a Spaghetti Western. Even the theme song evokes comparisons to the genre despite being sung in Mandarin.
The story is the spanner in the works, though. There is a tendency towards melodramatics and overacting, particularly by Xiu Xiu’s finance (played by Yau Lung). Even without this, there’s nothing terribly compelling about the story, which often promises to go down the Seven Samurai route but frustratingly never does.
The Magnificent Swordsman is an A Grade Shaw Brothers production with oodles of atmosphere, style and some nice touches to the action sequences. But the dull storyline ensures this never rises above mediocrity, unfortunately.
Brothers Five (1970) July 4, 2007
Posted by Cal in : Wuxia, 1970s films , 5 commentsDirector: Lo Wei Cast: Cheng Pei-Pei, Lo Lieh Action Director: Sammo Hung, Simon Chui Territory: Hong Kong Production Company: Shaw Brothers
In one of the episodes of the British TV series Extras, Andy Millman (played by Ricky Gervais) is talking about films, and utters the following gem: “I love all the ‘number’ films, really: Seven Samurai, Ocean’s 11…the Dirty Dozen…”
It got me thinking about Hong Kong films, and the abundance of titles with numbers in them that are classics: Warriors Two, 36th Chamber of Shaolin, Heroes Two, 18 Bronzemen…Heroic Trio. And one of my personal faves, the Savage Five. All good stuff, so I was quite looking forward to this old Lo Wei film and wondered if the theory could be proved once more.
When you think about Lo Wei (if you think about him at all), you probably think of a director too easily distracted by horseracing commentaries on the radio, unnecessary cameo roles, or no-budget chop-socky dramas starring a young Jackie Chan. You probably do not think of lavish high-budget productions where the term “visual splendour” would not be out of place.
And yet you definitely get this in Brothers Five, a film that must have been one of his last efforts at Shaw Brothers before going to Golden Harvest. If this was his last, it would certainly look good on his résumé – at times, this looks as good as a King Hu film. I’m guessing the exteriors were filmed in Taiwan, as this has a very “open”, foresty look to it, with long rolling hills in the background. The interiors are also splendid, with some of the nicest interior sets made up to look like exteriors.
Unfortunately, the film itself is a bit of a drag. I’m not going to go into the plot here as I’ll probably end up wanting to commit suicide from continually explaining the same situations the heroes find themselves in before realising the bleeding obvious and teaming up together, but what it amounts to is a “united we stand, divided we fall” motif that gets bloody thin even before we reach the twenty minute mark. There is nothing at all that is not deeply predictable every step of the way. I know I must make allowances as the film is 37 years old, and this kind of story hadn’t been done to death at that point, but the fact is that so many films have done it better and you can’t help but feel bored to tears over the whole thing. Cheng Pei-Pei isn’t really the star of this, she just kind of glides in and out when the plot(?) needs moving forwards or if one of the brothers has done something particularly dumb and needs a nudge in the right direction.
On to the action sequences. Frankly, this was the only reason I kept watching. The fights are co-choreographed by Sammo Hung, and even this early in his career it’s evident he was streets ahead of his time. It’s scary to think that this film was a full fifteen years before he reached his prime as an action choreographer!
Sadly, however, there’s a problem with the fights, too – there are too many of them and they just go on so damned long! This could sound like heresy to a lot of fans, but I swear it’s true. I just lost interest and my eyes glazed over. At one point I was sure it was all finally coming to a close, only to look at the display on the DVD player to find that just over an hour had passed. The total running time’s about 100 minutes, so I was a bit gutted. I stuck it out to the bitter end, but sadly there is no great redemption at the end. In fact, I can’t really remember what happened at the end – and I’m pretty sure I was relatively sober.
Sober enough to remember halfway through that 5 Shoalin Masters was a bit of a stinker, and I never cared much for Ocean’s 11 in the first place. Bang goes that theory, then.
Have Sword, Will Travel (1969) April 22, 2007
Posted by Cal in : Wuxia, 1960s films , 4 commentsDiretor: Chang Cheh Starring: David Chiang, Ti Lung, Li Ching Action Diretor: Yuen Cheung-Yan, Tong Gai Territory: Hong Kong Production Company: Shaw Brothers
Engaged couple Siang and Yun Piao Piao (Ti Lung and Li Ching) help an aging and decrepit Kung Fu master transport some silver. However, lone swordsman Yo Li (David Chiang) inadvertently gets involved.
Have Sword, Will Travel is a typical Chang Cheh movie – buckets of blood, honour and nihilism going hand in hand. And like many Shaw Brothers films from the time, the first hour or so is pretty actionless – a deliberate attempt to give the final reel more emotional impact. While most of the early part of the film is preamble, it does set up the love triangle that is created when Piao Piao takes a shine to Yo Li - much to Siang’s annoyance. Also, the scene where Yo Li is forced to sell his horse is surprisingly moving.
The final half an hour is a brilliant showcase set in a magnificent old tower. The setting imposes some great atmosphere, although it has to be said that the frequent switches between exterior and studio shots is not particularly effective and are quite obvious. The swordplay here is extremely impressive for its day, and the usual buckets of blood are employed to great use. I’m sure Freud would have had something to say about all the ejaculations of blood on show here! Add to that the obvious needle between Siang and Yo Li, and it makes for quite an intriguing finale. Will Siang relent and let Yo Li help him when faced with insurmountable odds in the tower? Who will finally walk off with Yun Piao Piao?
This was clearly a major influence on the new wave of HK Wuxia films such as Crouching Tiger, Hidden Dragon, House of Flying Daggers et al. But with all the fancy CGI and high production values, the new crop of HK swordplay films aren’t particularly better than the originals. Those that look down all HK films (except those embraced by Hollywood as being “not just a chop-socky but with an actual STORY”) would do well to check this out, providing they can stomach the intensely graphic (and still quite convincing) violence.
Come Drink With Me (1966)
Posted by Cal in : Wuxia, 1960s films , add a commentDiretor: King Hu Starring: Cheng Pei-Pei, Yueh Wah Action Diretor: Han Ying-Chieh Territory: Hong Kong Production Company: Shaw Brothers
A general’s son is taken hostage as leverage to free a bandit leader. The general’s other offspring, Golden Swallow, is sent to retake the son. When the bandit gang encounter the Golden Swallow (Cheng Pie Pei) in a local inn, they are taken aback by his martial arts ability and are swiftly defeated. With the help of local beggar Fan Da-Pei (Yueh Hua), the Golden Swallow keeps the bandits at bay. But everyone has a trick or two up “his” sleeve…
It’s been mentioned before, but it does seem to be true that King Hu was Hong Kong’s answer to Akira Kurosawa and Come Drink With Me is one of the seminal Hong Kong Wuxia movies (only his own A Touch of Zen and Dragon Gate Inn are in the same league). Although by today’s standard the action scenes appear more stylised and less natural, there is still plenty of things to admire. Besides, it’s the drama, splendour, character and story that is memorable and I’m sure Ang Lee, Zhang Yimou et al would give a major body part to be able to achieve what this film achieves – and with no CGI and relatively few trick shots. I’m talking about genuine mood and feeling, which Come Drink With Me has by the bucketful.
Those who still aren’t convinced that Shaw Brothers films went down the pan production-wise during the mid seventies should take a look at this 1966 movie. In fact, the first ten minutes should be enough to convince. The outdoor scenes are fantastically filmed and the interior sets are breathtaking – all standard for a King Hu movie. A lot of credit should also go to the lighting department who never fail in keep everything looking top-notch with lots of great mood lighting.
The film is a series of stand out scenes and set pieces. In Golden Swallow’s introduction scene, we see “him” surreptitiously humiliate a whole clan of bandits. Forget Bruce Lee, THIS is the art of fighting without fighting! Incidentally, a bald Yuen Siu-Tien (who later became famous as Jackie Chan’s Sifu in Drunken Master) can be seen in this scene. The only leap of faith required really is the fact that anyone could take the Golden Swallow for a man. Seldom have I seen such a pretty man…!
We also have some real sexual tension between Golden Swallow and Fan Da-Pei. When she (for her secret has been revealed!) gets into a fight at the temple (another cracking location, by the way), her vest briefly becomes visible – leading to a short burst of giggles from the bad guys and Golden Swallow’s acute embarrassment. This sets up the scene later where Fan Da-Pei is forced to suck the poison from her chest wound. It may seem tame by today’s standard, but this is really intimate stuff here, and should be taken in context of the era in which this film is set. To have a man see, let alone touch, such an intimate part of a woman’s body was not to be taken lightly in those days.
Surprisingly, subsequent viewing reveal more than the odd instance of intentional humour – and in particular a sense of irony. This is not quite as straight-laced as it first appears, and not as doom-laden as films by, say, Chang Cheh, who would pretty much dominate Shaws during the early 70’s.
If you really wanted to poke holes in the film, you could do – it’s not perfect. The bandits are a bit of a weak spot, admittedly, as you never do know what it is they stand for. They’re certainly nasty enough (they kill a small child, leading one monk to bemoan: “You’re too ruthless!”). However, on the whole, it has stood up remarkably well.
There are quite a few groundbreaking films from Hong Kong that shaped the industry. In the sixties and early seventies, you have a veritable bucket load (including The One Armed Swordsman, The Chinese Boxer, Vengeance, The Big Boss, and King Boxer). But Come Drink With Me is one of the more entertaining, and definitely the best looking, of the lot.
As a footnote, the sequel (which was helmed by Chang Cheh) was extremely disappointing but seems equally influential. Chang’s drenched-in-blood style does not sit well with its elegant antecedent, and the whole mood of the film is vastly different. Alas, King Hu had left Shaws by this time and had gone on to make his masterpieces in Taiwan. More of which later…