I half-remembered this from watching Eros at the Landmark way back then, and the new remaster gives us a good excuse to revisit. Gong Li is a high-class call girl, whose life/career hits a rocky patch, then she has to move into a dank moldy place and gets the croup. Chen Chang is her devoted tailor in good times and bad. Besides all the perfect costuming and sumptuous dim-light photography, highlight is a scene of erotic dumpling stuffing.
There’s Only One Sun (2007)
Found this short, nonsensical spy drama on vimeo, with horrid video compression compared to The Hand blu-ray. It’s a commissioned television ad that culminates in Amélie Daure of Frontier(s) making out with her flatscreen. Before that, there’s some talk off finding an untraceable person(?) named The Light, a flashback structure, a couple murders – that’s a lot for Wong, who likes to let his camera linger, to pull off in eight minutes. Mostly it seems designed to show the brightest colors possible, bleeding into each other, to impress the rubes when the brightness is cranked up at the Best Buy video wall. No need for too many new ideas – songs are reused from the 2046 soundtrack.
Rewatched with Katy on Criterion Channel. I guess we’d last seen it before I started the blog, and there’s a particular reason we had to rewatch it now, but since I’m not going to elucidate, and since I didn’t get any screenshots from streaming, I’ll just link to Eric Hynes’s great writeup.
Katy hated this, and sure it’s not one of the better or even more memorable movies we’ve watched this summer, but when I heard that Johnnie To made a movie starring Andy Lau as a monk/stripper/strongman in a rubber muscle suit, I knew I had to watch it right away, and I regret nothing. Guess I’m on my own for Johnnie To’s comedy Love on a Diet starring Andy Lau in a fat suit…
This movie starts out crazy enough, with bodybuilder Lau making a nude getaway while a more serious crime is being committed, running into a cop and seeing a vision of her future. They team up and fight crime… but then Andy retreats to a mountain for years, battles his past self, and captures a reclusive killer… and we sense that they either filmed a three-hour epic then cut it to ninety minutes, or everyone was making it up as they went along. The staging of even simple scenes is better than it needs to be, the movie’s never boring, it features some villains straight out of the comics, and it follows through on its promise to kill Andy’s romantic interest (the cop, Cecilia Cheung of The Promise and Zu Warriors), so I admire it despite the parts that never really work (the editing, the muscle suit).
“I’ve never seen a truly impressive man.”
Minjung (You-young Lee of a movie called Late Spring which is somehow not an Ozu remake) is breaking up with her deep-voiced boyfriend Youngsoo (Ju-hyuk Kim, who died last year). She’s spotted by some other dudes, chats with them in bars, dates at least one, but each time she’s someone else – or claiming to be. She’ll claim to be a twin sister, or just deny having ever been where they say they’ve seen her. I suppose her multiple identities are open to interpretation, but I assumed it’s just one woman who claims to be someone else when she’s bored with a guy.
We’ve also got an older (?) guy with cool hair and a folding bike (Hae-hyo Kwon of On the Beach at Night Alone), Youngsoo’s buddy (Eui-sung Kim, who hung around the main guy’s guesthouse in Hill of Freedom), and of course a film director (Joon-Sang Yoo, lead of The Day He Arrives, lifeguard of In Another Country). She ends up back with Youngsoo, which is slightly unsatisfying since he was such a dick in the opening scene, but I dunno, she’s also wearing the same t-shirt in the bookend scenes so maybe the parts in between never happened. This was supposed to be Katy’s first Hong movie but she fled after ten minutes, saying the style was weird and felt like the PBS show Degrassi.
I should’ve watched an actual Johnnie To movie, but instead I watched this generic cops & robbers flick from his production company. A super-hot getaway driver breaks a jewel thief out of prison in time for their big heist… meanwhile, fiery young cop learns a special automotive technique from his about-to-retire partner, who is killed by the baddies post-heist, provoking a cathartic faceoff finale. It couldn’t sound more generic, but fortunately the movie is full of delicate character details which really… haha no I’m kidding, it is totally generic. I bought Heat last week on blu-ray, and should’ve rewatched that instead.
I guess I’m not enough of a gearhead to be excited about the film’s magic getaway technique (which I’m calling the Hong Kong Drift), in which the driver makes the wheels spin awfully fast, squealing without the car driving forward, then turns the wheel in order to rotate in place. So, in a week when I’m watching trailers for this summer’s fast-driving heist movies, Baby Driver and Logan Lucky, this movie’s showcase is… making the cars barely move.
Cheang went on to make The Monkey King and Kill Zone 2. Our hotheaded hero is Shawn Yue (Young Tony Leung in Infernal Affairs and its prequel), his mentor is Anthony Wong (also Infernal Affairs, and star of Exiled), and enemy driver is Xiaodong Guo (Tsui Hark’s Missing). In true Johnnie To fashion, there is a minor character named Fatso, but distressingly he is not played by Suet Lam. Oh and hey, there’s even a lady in the film: a doctor whose name I didn’t catch, but was probably Barbie Hsu of Future X-Cops and Croczilla.
They record their chases on in-car VCRs. I’m watching a bunch of 2012 movies this week – this one has VHS tapes, and both Ape and Jack & Diane have audio cassettes – what’s the deal?
Bad Dude in Killer Car:
“Cheang’s background as an horror director serves him very well as every chase becomes a slasher film cat and mouse game full of menace and the white Nissan that serves as the film real villain and one true memorable character gains an almost serial killer status.” Of course Furtado loved it – he likes Alien vs. Predator.
I watched this a couple weeks after Office, not knowing they were Johnnie To’s companion pieces on the 2008 financial crisis. This one presents the corrupt business world more harshly – no lavish sets and musical numbers, just greed, theft, disappointment, ruin and murder.
Connie meets Teresa:
An intertwining-destinies movie following a few character threads. Inspector Cheung (Breaking News star Richie Ren) is on the sidelines of the other stories while his girlfriend Connie is buying an apartment. Teresa is a banker who sells high-risk investments to confused old ladies, ends up with a pile of undeposited money when her loanshark client Yuen is murdered in the parking deck. And Panther (Ching Wan Lau, the Mad Detective) works for broke gangsters, runs around collecting money to bail out a buddy until he finds stock trader Lung who has an idea for fast cash. The real estate thing held little drama, the banking part hinged on some mild deceit (the old lady heard the phrase “high risk” a hundred times so you can’t entirely blame the banker) and coincidence, but Panther was fun – I’d watch a sequel that just followed him around some more.
Oh man, what an idea – take a story of office politics during the 2008 banking crisis and turn it into a heightened musical on stylishly artificial sets, directed by master of spatial composition Johnnie To. I loved this.
Company IPO, new partnership and financial audit are all happening at once. Chairman Chow Yun Fat (first movie I’ve seen of his since Curse of the Golden Flower) and CEO Ms. Chang (film writer Sylvia Chang, also of Eat Drink Man Woman) run the company and are having a not-so-secret affair.
Cheatin’ David (HK McDonald’s spokeman Eason Chan) also has something going with Ms. Chang but starts warming up to Heartbroken Sophie (Tang Wei of Lust, Caution) in finance so she’ll help him hide a bad trade.
Energetic new guy Wang Ziyi (who introduces himself to people by mentioning Ang Lee, who has directed films starring half this movie’s lead actors) bounces around the office, falling for new girl Lang Yueting, who nobody realizes is the chairman’s daughter, covertly getting to know the company she’ll soon be running.
Wong Kar-wai’s inspired art director William Chang has concocted a highly stylized vision of a postmodern office setting: a theatrical, open-concept, multi-storied abstraction of a contemporary financial firm, complete with lobby and adjoining metro station. As fundamentally structuralist as ever (though he hides it well), To stages the complex romantic and financial-scheme-devising interactions of his stellar cast with a fluency that dazzles.
Probably would’ve dazzled even more in 3D, which is how it was presented in theaters.
This abstract pleasure of dashing lines and depth-play is at the service of an ebullient imagining of the corporate world in unparalleled transparency, one which the contemporary architectural trend of glass-scape monuments and faux-communal interior layouts insincerely aim at evoking. But what Chang’s screenplay reveals through this radical transparency is that Office is very much another Johnnie To film about killing: the killing of the soul within the corporate workspace, the killing of romance within a culture of materialism, and the killing of brother- and sisterhood within the machine of corporate capitalism. Its deadly thrust is naked for all to see. It joins To’s triptych drama Life Without Principle and the Don’t Go Breaking My Heart skyscraper romcoms to make for a series of blistering, cynical, and ruthlessly analytic portraits of the luxury-slick surfaces and corrosive-sick structures of global urban capitalism.
Responsible Lai Yiu-Fai (Wong fave Tony Leung) and impulsive, promiscuous Ho Po-Wing (Ashes of Time star Leslie Cheung) took a trip to Argentina, ran out of money and got stuck there. Now they’re trying to make money to get home, while the pressure of being together so long has destroyed their relationship. Ho disappears for long periods, returning dramatically without warning, while Lai persistently works menial jobs at a nightclub, a kitchen and a slaughterhouse. Lai meets Chang (young Chen Chang, lately The Razor in The Grandmaster) in the kitchen, but Chang isn’t sticking around Buenos Aires long, is on his way around the world (with ITMFL-like mention of a remote place people go to leave their troubles behind). Lai finally gets the money to leave, can’t find Ho so he returns to Hong Kong, where he can’t find Chang either (only finds his family’s restaurant).
Mostly great, eclectic music choices, including my favorite Caetano Veloso song from Talk To Her. But, well, my love for Frank Zappa is eternal, and I complain that his music isn’t played enough, and I appreciate the connection between him and the Turtles song of the film’s ironic title, but “I Have Been In You” did not fit the wistful mood of the city montage after Chang left.
Lai at the waterfall:
Chang at the end of the world:
A sustained mood piece, where nothing really happens and Christopher Doyle’s brilliant cinematography heighten the emotions of everyday life – just like In The Mood For Love. But ITMFL was about the possibility of an ultimately doomed romance, and this one’s about the lingering feelings after romance has ended. It’s a much more bitter movie, and though I enjoyed seeing it in HD for the first time, it doesn’t seem like one to revisit regularly.
Happy Together features all of the elements that have consistently impressed me in his other pictures: elegantly moody characters; stunning cinematography (courtesy Christopher Doyle, as ever); a loose-limbed narrative that careens from shot to shot without deliberation; a general air of cinema as possibility. All that’s missing is the powerful romantic yearning that suffused Chungking Express, Fallen Angels … and even parts of Ashes of Time and Days of Being Wild. In its place, to my irritation, is endless squabbling.
Interview film, Shanghai stories, people talking about their parents and their own childhoods. Many stories end in death or disappearance. Very stylish looking doc, with some non-doc segments, including a recurring ghost woman (Zhao Tao of Still Life, Platform, The World).
Clips from a 1959 film by a different Wang Bing (the Coal Money director was born in ’67), from Red Persimmon, Two Stage Sisters, Spring in a Small Town, Flowers of Shanghai, Days of Being Wild, Antonioni’s China, and interviews with filmmakers and participants.
Wei Wei, star of Spring in a Small Town:
Jia was invited to make a film “about Shanghai” to mark the opening of the Shanghai World Expo … his idea was to focus mainly on émigrés from Shanghai – politicians, soldiers, artists, gangsters – and to follow some of those émigrés to their subsequent bolt-holes in Taiwan and Hong Kong. … No film made anywhere has previously attempted a pan-Chinese view of the fall-out from the conflicts in China’s civil war.
I don’t have the context Tony Rayns has, have missed a lot in Jia’s films, but at least this one was fully narrated (and quite beautiful).
[The interviewees] are mostly famous, and predominantly from the arts world: this is a top-down historical chronicle, unlike the bottom-up small-town tales that made Jia’s name 10 years ago … Many of the stories come from Shanghai’s two brief “golden ages.” The swinging cosmopolitan (and colonially controlled, gangster-ridden, Japanese-threatened) jazz age of the 1930s is the first. The second revival followed the Second World War during the civil war that culminated in the Communist Party victory in 1949 and the dispersal of many of the film’s interviewees to Hong Kong and Taiwan.