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"There's no joking in the army"
The “Iron Triangle” of Chang Cheh, Ti Lung, and David Chiang brought the pain in The Heroic Ones. This Shaw Brothers film was about as epic as they got for a 1970 martial arts film. Walled towns, plenty of outdoor scenery, treachery upon treachery, and pretty much every stuntman on the SB payroll made this movie a step up from so many of the throw away films from this era. It was also beautifully restored.Near the end of the Tang Dynasty the emperor asked King Jin and his 13 General sons to rid him of the bandit usurper Huang Chao. Warlord Zhu Wen was also concerned about the bandit who had conquered Chang’an. King Jin sends nine of his sons to spy on Huang and assassinate him if possible. The 9 Generals are led by the youngest, Li Tsun Hsiao, which causes jealousy among two of the older brothers. Cracks in the brothers’ solidarity soon threatens them all.
The Heroic Ones was different from other Shaw Brothers productions in several ways. One of which was that it was not the Mings and Qings fighting but rather set much earlier in the Tang Dynasty. While there were two military antagonists, the primary drama, like a good old-fashioned Shakespeare or Greek tragedy, took place within the family. As this was a Chang Cheh film, there was no doubt going into it that there would be buckets of blood spilled and few, if any, of the brothers left standing. The man had a sadistic streak running through him. He outdid himself with one of the most gruesome deaths I've seen from this era. For another character’s death, someone said, “Your belly is open.” (Was disemboweled) I truly wanted the dying man who continued to fight to reply, “Do you honestly think I don’t already know that?” or “It’s just a flesh wound.”
I watched this movie for Ti Lung. But during this era when he and David Chiang made over 20 films together, in order to have Ti, I had to have the other. Chiang was enormously popular at the time, I just never saw the allure. I loved watching Ti Lung’s fierce fighting style, even when he was relegated to a supporting role. I’m always happy to see Ku Feng, although his character could be dimwitted at times as could Chiang’s. Eldest brother Chin Han also made questionable decisions that resulted in brothers being killed. The lone woman in the cast, Lily Li, had a brief appearance when the brothers needed a place to hideout.
The fights were well choreographed for 1970. There were a lot of swipe and flip, or swipe with stuntmen jumping off walls or into the water. Martial Arts Directors Tang Chia, Lau Kar Leung, and Lau Kar Wing staged large creative fights with no lack of blood though not as spurt happy as Chang’s later films would be.
The sets were enormous and well built. I’m not sure why the antagonists guarded their gates so heavily. The brothers tended to scale the fortress walls quite easily. Upon its introduction, there was no doubt that the Bridge of Peace would need to be renamed, The Bridge of Pieces. I cannot imagine how many costumes had to be made for the extras or dug up from other films. As a Shaw Brothers film there was no shortage of bare chests and furry vests and capes. Sadly, no silver lamé. Surprisingly, a young, thin Chan Sing was almost unrecognizable in his fancy costume which he didn’t remove for the entirety of the movie! There were also numerous spears wielded by both sides. One character was so committed to destroying King Jin that he burned down his own town! Whether a miniature or a set, the fire was realistic.
Most martial arts films from this time ran around 90 minutes. The Heroic Ones clocked in at 2 hours, too long for this kind of film. In all fairness, Chang Cheh and writer Ni Kuang kept the action and treachery cranked up enough to keep my attention, though I could have done with fewer banquet and dancing girls scenes. In nearly every way*, this old martial arts flick was slightly above average for the genre and time. Still only for fans of these old movies and graded on a curve.
13 January 2025
*Never go into these films expecting Bruce Lee level of fighting, he was the one and only or modern CGI and camera aided fighting scenes that anyone can do. There were numerous martial arts trained and acrobatic stuntmen to sell the action in these more balletic bloody battles.
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"Do you remember my hand?"
The film Eros contained three short films, the first of which was, The Hand by Wong Kar Wai. Wong Kar Wai is one of those mood directors like Zhang Yi Mou. I don’t always connect emotionally with Wong’s films while still appreciating his unique style. I’m always happy when one clicks with me, and this short erotic film starring Gong Li and Chang Chen did just that.Xiao Zhang is a tailor apprentice whose first customer is the beautiful prostitute, Miss Hua. He hears her at work while he waits in the sitting room. Miss Hua recognizes that he’s never touched a woman before. Much as the title implies, she touches him, launching his career and an obsession. He begins to take her measurements by hand, literally, memorizing every line of her body. Zhang creates beautiful works of art for her to wear even as her source of income begins to wane.
WKW used many of his techniques-dim lighting, rain, reflections, and close-ups of his gorgeous actors. Gong Li as always was mesmerizing to watch. Chang Chen as the tailor in love with a woman he could never have was stunning. It was a WKW film so I was already braced for a heartbreaking story of unrequited love. And he didn’t fail to bring the angst and the pain. He also brought the erotica without showing much skin. Gong Li and Chang Chen turned up the heat to scorching merely being in proximity to each other.
The Hand was a feast for the eyes and senses. Short, with a shot straight to the heart, wrapped in WKW’s usual style, dripping with barely concealed longing and desire. If you are a fan of WKW’s work and don’t mind erotica, this is definitely a film to try.
11 January 2025
Trigger warnings: The introduction by sexual act with a hand, is the most graphic scene, though not overly so. There is a bare bottom. Sex was often alluded to, with sound effects for those who are sensitive to such things.
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"An actor's revenge certainly is dramatic"
An Actor’s Revenge was actor Hasegawa’s 300th film and a remake of his 1935 film by the same name. Both life and the play were equally theatrical and equally theatrically shot. The gender bending characters made me wonder if life was just an extension of the kabuki play or if it was a progressive look at gender.Nakamura Yukinojo is a famous onnagata who stays in character on stage and off. At the age of seven, his parents killed themselves when a friend colluded with two powerful men to destroy his father’s company, leaving the family destitute. One of the conspirators, Sansai, the ex-magistrate of Nagasaki and his daughter Namiji attend Yukinojo’s play. Kawaguchiya, the perfidious employee and co-conspirator also is there. Namiji is the shogun’s concubine but falls hopelessly in love with Yukinojo, becoming ill when he refuses to meet with her. Fellow merchant Hiromiya is also revealed to be an accomplice as he takes an interest in Yukinojo. The actor plots to use innocent Namiji to bring the 3 men down. He's aided by a lookalike Robin Hood thief, Yamitaro.
The hardest hurdle to scale was actor Hasegawa Kazuo. He was 55 at the filming of this movie and playing a character in his 20’s. When much younger Namiji fell instantly in love and called him “beguilingly beautiful” did she see beyond his paunchy middle-aged appearance? The female thief Ohatsu who was criticized for being too masculine and had never loved a man also fell in love with Yukinojo. Perhaps because the actor was decidedly feminine? Meanwhile, Yukinojo and his troupe leader Kikunojo seemed to have a deeper than friendship relationship. The thief also played by Hasegawa had sworn off all relationships with women though he was intrigued by Ohatsu. Whether it was the intention or not, love appeared fluid, flowing as it willed irrespective of gender or appearance.
Yukinojo’s revenge was nothing exceptional, but satisfying. What made this film enjoyable for me were the creative filming techniques that made all of life a stage. Trees in the forest were obviously fake as Yukinojo was confronted by an old foe. Director Ichikawa used dramatic filming techniques with inky blackness and strategic spotlights. Though it could make the action difficult to follow, the style was intriguing. Yamitaro’s identical appearance was perplexing. At first, I though perhaps Yukinojo had a split personality, especially when Yamitaro commented personally on the actor’s actions. In the end, I guess he was just one more narrator. Ichikawa made use of the famous benshi, Tokugawa Musei, as the primary narrator for the film.
An Actor’s Revenge was an entertaining kabuki experience on the stage and off. Hasegawa’s age could be difficult to overcome, but I suppose age wasn’t important on the stage so it wasn’t important off the stage in this film either. More style than substance and your enjoyment will be whether that off-beat, at times humorous style appeals to you. The suspension of reality and theater acting could be hit and miss with me, in the end it was worth the ride.
4 January 2025
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"Water, water..."
Rhapsody in August was a bittersweet viewing for me. I’ve now watched all of Kurosawa Akira’s films where he was the writer and director. I have immensely enjoyed many of his films, this wasn’t one of them. While it was watchable, it lacked the bite and depth of previous films. Perhaps it was his age, perhaps it was writing without a partner. Whatever the reason, as he worked through the focal traumatic point of his generation, it came across historically evasive and heavy-handed.Kane is the grandmother of four grandchildren. Her son and daughter have traveled to Hawaii to meet with her older brother. The children are staying with her while their parents are away. Kane has no desire to travel to Hawaii as she has no memory of the brother who immigrated in 1920 and made a fortune with pineapples. The grandchildren desperately want to go to Hawaii and are disappointed to be stuck with their grandmother in a house with no television. Kane is always looking backward to the bombing of Nagasaki where she lost her husband. She tells stories to the children who are both intrigued and frightened by them. With her husband’s memorial approaching she has no intention of leaving the country which causes the children to rethink their approach.
Women and children rarely figured prominently in Kurosawa’s films, here they took center stage. Some things never changed, the boys’ names were oft repeated while the girls’ names were scarcely mentioned. Much like the wife in Madadayo who never had a name even though the cat had one. The film fell upon the shoulders of the child actors with limited success. They went from acting like typical children upset to be without television to spouting adult social platitudes. The oldest girl, Tami according to the cast list, read off pages of exposition at the Nagasaki memorials from the Eastern bloc countries and at the school where the grandfather died. She opined how younger people had no memories of the fateful day’s event and no one bothered to learn even as crowds visited the memorials and school. Her opinions and history lessons seemed far beyond her years and felt completely out of place. Thrown into this mix was Richard Gere as the son of the wealthy brother who visited Kane and the children. Sympathetic to their suffering and acknowledging the tragic loss of the grandfather, he came and then left, awkwardly shoehorned in.
The ghost of the bombing was ever present in this film, especially for Kane who envisioned it as a great eye. For her the war never truly ended. The irony of the lost family living in Hawaii was never brought up when Kane blamed “war” for the bombing. In Kurosawa’s older films, the main character had to suffer and deal with painful challenges in order to grow and transform. Here, Kane is old and near the end of her life, ever reminiscing. Each generation had a different response to the bombing. Rather than a source of familial conflict the gap between the generations was easily bridged. The children who were largely unfamiliar with the bombing listened to Kane’s stories and visited the places she mentioned. Their parents who had known poverty as children and lived in the shadow of the bombing, were ever on the hunt to make a buck. All too eager to use the new wealthy relatives to improve their station.
Unlike his earlier films, Kurosawa fell into the tell don’t show trap where much of the action either occurred in the past or off screen such as a death and a family reunion. The bombing in this story happened in a historical vacuum, lacking any context and complexity. Perhaps because Kurosawa was near the end of his life and feeling more contemplative, so were his characters. Kane’s mind started running in reverse, driving her back to the day of the bombing. Steadily determined against the wind and rain to reach her destination and maybe this time change the ending. But only memories can run backward, time moves ever forward, with any luck carrying the lessons hard learned.
3 January 2025
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"Everything will be okay"
Parangal (Award) was the sequel to Jollibee’s Date from 2017. This was a nice continuation to the original short film/commercial about a boy having a Valentine’s date with his mother.Joey addresses the audience at his high school graduation, a day of awards for him. It is also a day he has been looking forward to so that he could pay tribute to his mother, the person who sacrificed to get him to this point. In Date, he followed his deceased father’s instructions to give his mother a nice Valentine’s Day. And while Joey was committed to stepping up to help his mother, his mother, as single mothers do, took on the role of mother and father to make sure her son graduated.
Parangal may have only been a creative commercial for Jollibee but it was also a reminder to remember the cost of parenthood when things get tough. Joey’s biggest gift was not an award, but the love of a mother dedicated to giving him a chance to succeed in the world. The mother was awarded a hard working son who also knew how to express gratitude. Gifts far greater than the price of a bucket of chicken.
22 December 2024
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Nine minutes of film sunshine
Hand Sign: I’ll Be Your Ears aka Boku ga Kimi no Mimi ni Naru was based on a true story which made this sweet short film all the more poignant. In many ways it was a music video as there were very few words spoken out loud by the characters. Set at a university, two students met and despite their differences found they had something in common.A new deaf female student hands out fliers trying to find someone to help her take notes during class but has no takers. One day a male student in her class sees her frustration at attempting to read the professor’s lips and steps up to help her. As the two spend more time together, Rika wants to learn more about the joy of music and Wataru wants to learn more about sign language.
I don’t know the name of the band playing but I loved that they signed the lyrics and of course this played into the budding love story. Rika and Wataru did a fine job portraying the steps in the relationship, from tentative greeting to eagerly wanting to know more about each other.
While the story was sweet it avoided being saccharine, especially knowing it was based on the experiences of two real life university students. Those little extra efforts at communication people often avoid can lead to friendship and even love. How many interesting relationships do we miss out on by not stepping out of our comfort zones? The real people who inspired this hopeful and sunny film discovered the rewards and were generous enough to share them with the rest of us.
20 December 2024
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Wong Fei Hung and his disciple Fei Fei are in Thailand to visit his friend Mr. Chu and also Fei Fei’s sister Yu Ying who owns a restaurant. On the way to Chu’s house, they meet Leo who has run afoul of the local martial arts school. Leo joins WFH on his travels. Mr. Chu has his own problems with Ku, a local Chinese businessman who is striving to take over the docks with his drug smuggling and human trafficking. Along for the ride is an evil kung fu master and his disciples who allied themselves with Ku.
What this film had going for it was the cast. Kwan was nearly 70 but still did many of his own fight moves. Sammo was at the beginning of his career and the guy who was the punchee as much as the puncher. He showed his stuntman skills by flipping and twirling when the receiver of fists and kicks. As the martial arts director, the choreography reflected his style-smash mouth, basher, hard hitting fists, and bodies hitting the ground even harder. The action kept the movie moving forward in a way the story wasn’t able to. Nora Miao had a high billing but very little to do except stand around occasionally and wring her hands.
The story wasn’t very original and had one of my least favorite tropes-the noble kung fu master who refuses to fight. WFH kept telling Sammo and Carter to be patient and tongue lashed them when they fought. Even when they were defending Fei Fei’s sister from being raped. Pretty sure WFH would have defended himself if the bad guys tried to sexually assault him. The popular master only allowed the good guys to fight after the bodies of friends and family started dropping.
Overall, The Skyhawk had its entertaining moments and several quality fights. It was fun to watch Kwan Tak Hing near the end of his career and Carter Wong and Sammo Hung at the beginning of theirs. Only for fans of old kung fu films and as usual rated on a curve.
18 December 2024
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Home is where the heart is?
Home is a short Thai film about a daughter who visits her family. The guideline says it’s about finding your true happiness, but I think the director may have overestimated my ability to discern that message out of this inscrutable short.A university student draws money out of an ATM and makes her way home. Her father is working in the forest where he grows much of their food. She asks if he needs help but he declines. Her mother is elated to see her and makes her favorite dishes which the daughter leaves untouched. Her parents become worried at her withdrawal but the daughter refuses to talk with them.
There are some films that are enigmatic and leave the viewer to draw their own conclusion. Others are simply a slice of life that leave more questions than answers. This short film did both. I could try and make up a profound meaning to the happenings in this film, but I don’t think it was that deep. It felt like a film about that time in life when a young person is seeking the answers to questions they aren’t sure how to ask just yet. And too wound up in their own feelings to understand how their silence can cause pain for caring parents. Or not. Whether Home is where the young woman's heart was, remained to be seen.
16 December 2024
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"If your mind is strong, no ghost can harm you"
Ta aka Grandfather is a Thai short film based on a supposedly true story. The film tells the story of a mother and her experiences with her daughter who can see ghosts and her father who could also see them when he was alive.Prae struggles to sleep by herself telling her mom that she sees a ghost under her bed. The mom checks but doesn’t see anything. Prae is insistent and her mother lets her sleep with her. When the situation repeats, Nim tells her daughter that there is nothing to fear from ghosts and relates a story from her own childhood. Nim’s father was a shaman of sorts who people called upon when they needed him to expel ghosts. One night he took Nim with him when he was asked to exorcise a ghost who had possessed a young girl. The experience changed Nim’s view on spirits forever.
Ta was an entertaining short ghost story with a twist at the end. Some Thai ghost stories are quite scary, this one had a moment or two but ended up being more about Nim, her father, and her daughter and their role in the village. I enjoyed this short spooky familial film, mainly because it focused on the family and wasn't horrifying.
16 December 2024
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A college student has a crush on a girl in school, but she is in love with someone else. Can he win her over with her favorite Jollibee burger?
What felt contrived to me was that he seemed to pull the burgers out of his, uh, pocket. He always seemed to have one at just the right time. The burgers had to be ice cold by the time she found them. Also, I kept wondering if she’d already eaten or was thinking, cold burgers, again? Am I being stalked?
Crush was entertaining for a short film/commercial, but didn’t wow me like their other commercials/short films I have seen. But it was good enough for a quick drive through meal.
16 December 2024
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Satisfying love triangle
Josh Kim filmed The Police Box after dropping out of film school. He’s gone on to make other films and shorts. The first short of his I watched was The Postcard. One of his guiding thoughts is “what if?” That question served him well in this seven-minute film, one of the more interesting romances I’ve seen recently.A young man and a young women sit at the window in a bar each evening. The young woman is fixated on a policeman who walks the beat. Outside the bar is a police box where he writes down notes. After she writes the policeman a note in the book, the young man at the bar takes matters into his own hands.
I have to say, when the film first ended, I was thinking, “What?” Then it dawned on me and I laughed. What a great ending to this short film. The acting was quite basic, but the twist Josh Kim threw in at the last made it all worthwhile. This is one romantic triangle that I can easily recommend.
11 December 2024
PS-After the film ends, he runs it again with the costs he incurred during filming.
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"Cheer up"
Ophelia is a short film by Celina Mae Medina. It was not only her thesis but also a result of “two years of personal crisis and research.” The film was dedicated to her friend Allen. While this film is important, if the discussion of suicide is a trigger you may want to avoid it. **Lia is a college student suffering from depression and suicidal thoughts. Scattered throughout her bedroom are sticky notes with positive messages. Her parents try talking with her and at her. “Cheer up.” Always helpful advice when a loved one is having a mental health crisis. They blame her girlfriend and each other. Lia wants to see a psychiatrist, feeling she can no longer go on. Her parents are convinced the problem is spiritual and resist sending her to a psychiatrist, using alternative treatments.
The film did not glorify suicide nor ridicule anyone needing mental health help. Lia’s family was financially well off. Her parents loved her even if they were clueless. But clinical depression and suicidal thoughts don’t care about any of that. Willing them away or praying them away is like trying to put out a four-alarm fire with an eye dropper of water. Director Medina made her short film available on YouTube during the pandemic to start conversations and to help people who are struggling to not feel so isolated. Ophelia showed how devastating and destructive it could be to hear platitudes from people who did not or could not understand the depth of her anguish/and were in denial about how deeply it ran. The running time for Ophelia may have been short but this gut punch of a film will be remembered much longer.
10 December 2024
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Spoilery Trigger Warning Below
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Suicide
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Real love with a side of extra rice
How to review a three-minute short film? Keep it even shorter! Was The Vow a short film or a long commercial? Really does not matter. It was filmed with a gauzy romantic effect as a man remembered the first time he met “The One." The Vow related a story of true love and real devotion revolving around a Jollibee’s fast-food restaurant.If you have three minutes to spare and want to hear a beautiful wedding vow with a meaningful twist, this film is worth it. I don’t know if Jollibee’s two-piece spicy chicken with extra rice and upgraded pineapple juice is any good or not but they certainly made a satisfying commercial. Everyone should be so lucky to have a person as devoted and selfless in their life as the narrator.
10 December 2024
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"A man with a heretical style can live honorably"
Destiny’s Son aka Kiru was a lovely, if nihilistic, style over substance tale of a samurai’s journey of loss. Director Misumi Kenji crafted a spare film clocking in at 70 minutes based on story by author Kyoshiro Nemuri. I suspect people who have read the book would be able to fill in the narrative gaps in the film.Takakura Shingo was given permission to take a three-year walkabout by his low ranking samurai father. When gentle Shingo returns everyone is surprised that he has developed incredible sword skills. This sets off a chain of events that leads to murder and Shingo taking to the road, this time for good. Skilled, loyal, and good-hearted, Shingo learns more about his background and the treachery of “honorable” samurai.
Death was a main character in this drama as it lurked behind every character. Betrayal and Deception were strong supporting characters as Shingo dealt with ambushes repeatedly. The young samurai vowed to never marry as he was unable to save the three women in his life nor were his skills successful in protecting his father figures. Shingo’s theme song could have been “Alone Again, Naturally.”
Most of the sword fights were of the swipe and fall variety. There was one notable exception. During a duel an opponent made like a banana and split vertically as his corpse fell to the ground. Shingo’s innovative style was considered heretical which I found amusing as if there was a sacred way to murder people.
Misumi created a very stylish film with a variety of framing and filming techniques. He pared the story down to the bare minimum, hitting the highlights in Shingo’s sad life. Ever at the mercy of merciless people and a merciless system, Shingo’s invincible sword skills could not protect his heart.
7 December 2024
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"Don't worry, nothing is going to happen"
Michelle Yeoh, Maggie Cheung, and Anita Mui returned for this sequel to The Heroic Trio from the same year. While The Heroic Trio was campy and fun, Executioners was dark with an erratic script and zero fun.Wonder Woman aka Tung (Anita Mui) is now married with a daughter. Her husband, Commissioner Lau, is rarely home as he is dealing with the aftermath of a nuclear strike that has left the people without clean water for several years. An entrepreneur named Mr. Kim (Anthony Wong) has figured out how to clean the radiation out of the water and sells small shipments at premium prices. Invisible Girl* aka Sandy Ching (Michelle Yeoh) turned over a new leaf after the first movie and is helping transport medical supplies. Thief Catcher Chat (Maggie Cheung) is still doing whatever she can to make a buck. Religious leader Chung Hon and a military colonel are both in cahoots with Mr. Kim. The president is vulnerable as well as the government in general with Kim and the Colonel both gunning to take over the country. Somehow the Heroic Trio must find a way to save themselves and the people from the evil men’s machinations.
The budget must have been miniscule for this film. In order to make the cheap sets appear post-apocalyptic they turned down the lights and turned up the fog machine. The strength of the first film was the relationship between the three women. Here, they were rarely together. The main exception being a gratuitous bubble bath scene at the beginning of the film as they played a game of grab and tickle. If there was a Sapphic subplot it might have made more sense but here it seemed to be designed to titillate 15-year-old boys. There weren’t many action scenes and most weren’t memorable. The plot seemed to be focused on the women fighting in skirts or short shorts and having as many people killed as possible. If they had ever planned a third film those characters eliminated should have counted themselves lucky.
It is no secret that I love the beautiful and talented Michelle Yeoh and will watch anything she is in. I also adore Maggie Cheung. The three women combined could not save this movie, actually if they’d had scenes together it might have helped. Anthony Wong as the villain was hampered by having to wear heavily scarred facial prosthetics and a mask on top of that. Kaneshiro Takeshi’s religious leader seemed to be a prominent role until he lost his head early on. Lau Ching Wan’s character had possibilities but ended up all wet. One of the characters that dragged this movie down considerably for me was the daughter. She was always getting lost or making a scene or diving into danger. It didn’t help that the dubbed voice was equally annoying as the character.
Executioners had a wealth of talent and wasted all of it on a dreary, convoluted story. When the three women were together fighting it was exciting. The trouble was the director forgot that key piece and squandered his cast and my time.
5 December 2024
Trigger warning: Rats and drinking of rat’s blood
* In the first film, Michelle Yeoh’s character wore an invisible cloak, but not in this film.
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