I’ve got a weird fascination with superhero movies from places other than the USA. Since X-Men (2000) and particularly Spider-Man (2002) demonstrated the possibilities of adapting comic books with a previously unthinkable level of faithfulness to the source material, superheroes have become a staple of Hollywood’s output. And with cash tills ringing in spades for all manner of four-colour-inspired heroics (as I write, The Avengers is already the third-highest grossing film of all time and still in theatres), it’s no surprise that overseas producers began to wonder at the possibilities. Some looked to their local comic properties for inspiration, such as with Hong Kong’s ‘a bit like Batman but played by Michelle Yeoh’ effort Silver Hawk. Elsewhere, filmmakers just borrowed wholesale from American films, as with Russia’s ‘Spider-Man with a flying car’ Black Lightning, or Thailand’s ‘Spider-Man… actually just Spider-Man’ cash-in Mercury Man. And of course Bollywood, boasting the biggest film industry in the world, was hardly going to miss out.
I haven’t seen a whole lot of Bollywood films, but those I have seen, on the whole I’ve liked. I’ve seen just enough of them to act like a shocking poseur among my immediate circle of acquaintances and work colleagues. “Slumdog Millionaire? Very impressive, but really only a Western distillation of the vibrancy and colour of a real Bollywood film. Also, I got the Amitabh Bachchan reference so clearly I am better than you.” I’m not proud of such behaviour, but then it’s not difficult to feel intellectually superior to most of the people I encounter at work. Just having seen a theatre production without any songs in it is enough to mark me out as an ivory-tower elitist in my office.
Here’s an interesting factoid for you: every year this century, with the exception of 2001, a superhero movie has been in the top ten highest grossing US films of the year. Some years have had more than one – 2008 had three. Not surprising then that other filmmaking nations are trying to get their hands on those fat comic-book dollars (or in this case, baht). Thailand’s film industry is currently enjoying considerable worldwide success on the back of Tony Jaa’s martial arts movies, and has made some forays into this area such as 2006’s Mercury Man. The film was produced Prachya Pinkaew, director of Ong Bak and Chocolate, with action choreography from his long-time collaborator Panna Rittikrai. It was their attempt to cash in on the Hollywood comic-book boom, specifically Spider-Man. Don’t worry if you don’t pick up on this immediately, as the filmmakers (completed by director Bhandit Thongdee, The Unborn) helpfully add extras in Spider-Man T-shirts and jokey graffiti shout-outs to the Marvel movies, not to mention the look and abilities of the hero.
Silver Hawk (originally titled Masked Crusader) is loosely based on a series of popular pulp tales by Xiao Ping, published in Shanghai during the 40s and 50s. These told of the adventures of a masked heroine, Wong Ngang, sort of a female Chinese Robin Hood in superhero garb. The stories were previously adapted into Hong Kong movies and TV shows in the 60s and 70s, with the heroine portrayed by big stars of the time including Connie Chan, Angie Chiu and Petrina Fung Bo Bo. This movie’s genesis was rather more down to Earth: producer Thomas Chung was in China doing promotion on The Touch and noticed that Spider-Man was doing bravura business, and decided a superhero movie could make some serious money.
I have nobody to blame but myself. I mean, by now I should know that Hong Kong movies are not what they once were (i.e. good). And I should certainly know not to expect anything much from pop duo The Twins, a.k.a. Charlene Choi and Gillian Chung – I did, after all, suffer through their crummy vampire action mess The Twins Effect. So why in the Gay Blue Hell would I be interested in Protégé De La Rose Noire, their latest box office smash? Well, because one of my Hong Kong heroes, Donnie Yen, was the man behind the camera, and Donnie kicks ass. He was the action choreographer on The Twins Effect, and deserves the credit for making the mostly non-fighter cast look halfway competent. So maybe, just maybe, he could pull something out of the fire. Also of interest is that the movie features Donnie’s little sister Chris Yen, returning to the big screen for the first time since her debut in the little-known 1986 Yuen Woo-ping film Close Encounter With A Vampire. Still, I didn’t dare get my hopes too high, which is just as well because the movie still couldn’t live up to them.
I was uhm-ing and ahh-ing about reviewing this one given it’s a film with a rather high level of tween-girl appeal, and I didn’t want to tarnish my stout-yet-manly Franco Nero-in-Enter the Ninja image. But then Keith admitted to watching Red Riding Hood and I figured why not? Teleport City is after all built on inclusivity, which is the next best thing to build something on after rock and roll. So for the site’s no doubt large but silent tween girl fanbase, and anyone else who was just browsing and saw the picture of a cute girl walking away from an explosion, here it is; I Am Number Four.
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??’