“To build a city at the bottom of the sea…insanity! But where else could we be free from the clutching hands of the parasites? Where else could we build an economy that they would not try to control? A society that they would not try to destroy? It was not impossible to build Rapture at the bottom of the sea…it was impossible to build it anywhere else.” — Andrew Ryan
Jimmy Wang Yu was one of the most colourful figures ever to emerge from the Hong Kong movie scene. He made his debut in Temple of Red Lotus in 1965, but it wasn’t until a couple of years later that he became a megastar. The vehicle was Chang Cheh’s film The One-Armed Swordsman, a movie that gave birth to a new, bloodier and more anti-heroic trend in Hong Kong movies. Jimmy played the main character Fang Kang, a man who loses an arm and then has to learn a devastating one-limbed sword style. The film was so successful that it spawned an official sequel Return of the One-Armed Swordsman in 1969, also directed by Chang Cheh. Then in 1970 Jimmy appeared as The Chinese Boxer, in a movie considered to be the first ‘real’ kung fu film, beating Bruce Lee’s The Big Boss to Hong Kong screens by a year. But the one-armed swordsman persona wouldn’t leave him, and in 1971 he appeared in Shaw Brothers’ collaboration with Japan’s Daiei Motion Picture Co. Zatoichi Meets the One-Armed Swordsman, the 22nd entry in the popular series about a blind Samurai played by Shintaro Katsu.
I have a shocking confession to make: I don’t own many movies featuring dwarves. When our fearless leader Keith suggested submitting a review to the little people roundtable, I was forced to confront this deficiency. A couple of my kung fu flicks might feature cameos by short actors, and sure I’ve got the Weng Weng spy epics, but those are already well served by reviews here. Willow? Too obvious. Seven Dwarfs to the Rescue? Too awful — and given the venerable members of the B-Masters, one that’s quite possibly been covered elsewhere. So I have been forced to fall back on a movie from my home country of Great Britain’s 1970s, one which resides variously under the titles The Monster, I Don’t Want To Be Born, Sharon’s Baby* and A Colossal Bag Of Concentrated Suck (one of these might not be real).
During the first half of the 1990s, Hong Kong was wire-fu crazy. It seems like all you had to do to get your movie made was show up at a studio waving around a napkin with “guys in robes fly around, then there’s a fart joke” scrawled on it. Even if the studio already had ten movies exactly like yours in production, producers saw no reason they couldn’t add one more to the pile. New Legend of Shaolin, starring Jet Li when he was the undisputed king of being hoisted around on wires, is the epitome of mediocre 1990s wuxia. It’s bad but not enragingly bad. It’s fight scenes are terrible but not “really terrible.” And as was almost always par for the course, the tone jumps wildly and without any transition from slapstick fart comedy to atrociously overwrought melodrama. It’s a textbook case of by-the-numbers, don’t-give-a-shit Hong Kong film making from Wong Jing, the master of by-the-numbers, don’t-give-a-shit Hong Kong film making.
The enormous popularity of pocket-sized Filipino action star Weng Weng — in the wake of his successful debut as Agent 00 in For Y’ur Height Only — was destined to be short-lived. And apparently no one was more aware of that than the people guiding his career. As a result, the dawning years of the 1980s saw the P.I.’s theater screens deluged with a mini-flood bearing the Weng Weng brand. The sequel to Height, The Impossible Kid, followed hot on the heels of it’s predecessor, seeing release in 1982, while Weng Weng’s first headlining foray into the Western genre, D’Wild Wild Weng, hit screens that same year.
My guess is that if you don’t know who Weng Weng is by now, you’re probably not the kind of person who’s going to care who Weng Weng is anyway. And if that’s the case, you obviously came upon this site by mistake. Then again, I may be wrong about that. After all, those who keep abreast of internet memes and those with a taste for obscure cult movies are not necessarily one and the same — just as, conversely, it’s a rare type who will go from chuckling at the exploits of Weng Weng or Little Superstar in a two minute YouTube clip to actually seeking out and watching one of their movies in its entirety. (I am one of those two kinds of people. Can you guess which one?)
In November of 1989, The Berlin Wall — perhaps the most potent symbol of the Cold War other than Ivan Drago — became a minor speed bump as the physical, social, and political barriers separating West and East Germany collapsed. As Germans began streaming back and forth across the once imposing border, the entirety of the Soviet-era Iron Curtain began to crumble as well, and before anyone knew what was happening, the world had changed. In the ensuing weeks and months, East and West German were reunited into a single country, the Berlin Wall was demolished, and the Soviet Union ceased to be while the satellites that had once comprised it became new countries. It was a heady mix of joy, terror, confusion, elation, and ambivalence that I remember well.
It makes me happy to wake up and discover, more or less totally by accident, that the world of film is still surprising and delightful. I have no idea how I heard of Norwegian Ninja. Perhaps appropriate to the subject matter, awareness of the movie simply popped into my head with no external stimulus at all, like the world knew that I needed to know Norwegian Ninja existed, and the cosmos took whatever metaphysical steps were needed to enlighten me. There it was all of a sudden on my television, and I was pretty happy. After this and Troll Hunter, maybe I should start paying attention to Norway beyond making jokes about the black metal scene and how their scary devil make-up isn’t as scary as they think it is when all those people pose for a photo out in their back yard.
I suspect that the appeal of these female-centric compilations of vintage international pop is due no less to the power of the female voice to both soothe and inflame than it is to the longstanding function of the female form as an era defining marker of style. Perhaps few better illustrations of this can be found than the image that emblazons the cover of German label Grosse Freiheit’s Funky Frauleins series: that of a long haired, lithe, and blissed-out looking blond whose naked body has been turned into one big psychedelic canvas. It’s a single picture that evokes a very specific cultural moment as easily as any painstakingly assembled collage ever could, and has the added value of tantalizing us with promises of sex and countercultural transgression.
As the kind of pop culture savvy, switched-on individual who reads Teleport City, I assume you’re familiar with Sam Raimi’s excellent 2002 adaptation of Spider-Man. But in case you’re not or just need reminding, here’s a quick recap of the plot. Peter Parker sees the girl of his dreams being wooed by a wealthy jock with a flash car. Deciding what he needs is a cool set of wheels, he uses his recently acquired spider powers to enter a wrestling contest for money, only to see through his inaction, his beloved Uncle Ben shot and killed. The 2009 Russian film Black Lightning (produced as all Russian movies apparently are by Night Watch’s Timur Bekmambetov) uses the same plot, but asks the one important question Spider-Man left dangling; ‘what about the car? What about the car??’