Tag Archives: Benny Chan

shaolinfeat

Shaolin

shaolin15

Me and Benny Chan go back a ways, and our relationship has been stormy. Some of his directorial efforts, like Who Am I and Big Bullet, I really like. Others, like New Police Story and Gen Y Cops, I really dislike. So I guess I come out even enough that when Chan makes a new movie, I figure I might as well see it. Shaolin, Chan’s first stab at a big budget period epic, is in a way the ultimate Benny Chan film for me in that I really liked about half of it and really didn’t like about half of it. It’s a movie that seems specifically designed to highlight both his strengths and weaknesses as a director.

Most of Shaolin comes straight out of the generic kungfu film screenplay generator, so much so that I felt like anyone who ever wrote a kungfu film should have gotten credit for the script. As it is, three screenwriters get credit for Shaolin — one of whom (Chi Kwong Cheung) hasn’t done much of note, one of whom (Cheung Tan) wrote a bunch of stuff in the 1990s that was really good, and one of whom (Alan Yuen) wrote a bunch of other Benny Chan films I didn’t like. But it hardly matters who was responsible for what, since so much of the movie is a repeat of things we’ve seen before, only delivered with a lack of subtlety that is nigh staggering. When a film is unsubtle even by the generally subtlety-free standards of the kung film — well, I guess that’s some sort of an accomplishment.

Case in point: we open with the familiar scene of monks cleaning up a corpse-strewn battlefield. Within a minute of the film starting, we get a shot of a lone yellow flower (I think it’s yellow — Benny Chan has opted to go with the artificially washed out, colorless look — like pretty much every other director in the last decade) blooming amidst the grime and death. As if that wasn’t groan-inducing enough, the point is further sledgehammered home by having the flower cupped in the hand of a dead child. Seriously, Chan? You’re going with the single flower on the battlefield? In the hand of a slain child? That’s your opening shot? Amazingly, the film actually managed to get even more ham-handed than that as it progresses through its story of warlord Hou Jie (Andy Lau, who apparently devoured, Highlander style, the power of all other superstars from the 1980s and 1990s to turn himself into the most powerful elder statesman ever), a basically evil guy waging war with his neighbors during the lawless period after the Chinese Revolution. This might be one of the first times one of these warlords hasn’t been portrayed by a bald guy with a handlebar mustache (even though Warlords proved Andy Lau can wear fake facial hair with pride). Hou Jie is the merciless sort, even willing to gun down an already dying man — in the back, no less — on the steps of Shaolin Temple, much to the consternation of Shaolin’s abbot (a welcome Yue Hoi, who starred in the much better Shaolin trilogy alongside Jet Li in the early 1980s) and prize pupils (Jacky Wu, Yu Shaoqun, and Xing Yu).

Tagging along with the dastardly general is pouty young upstart Cao Man (Nicholas Tse), who despite being a warlord’s second in command during the early 1900s, still sports anachronistic 1990s moody anime guy hair, proving that no matter what Nick Tse does in his career, his hair is still most important. While Hou Jie schools Cao Man on the finer points of being a ruthless dictator, the Shaolin monks start careers as noble bandits, stealing stockpiled rice and flour and delivering it to the city of refugees that has sprouted up outside the temple. The monks and the soldiers don’t have much interaction with one another after the film’s initial conflict, until the night Hou Jie and Cao Man conspire to murder an ally warlord. It turns out, however, that the ambitious Cao Man has really been paying attention to Hou Jie’s evil lessons, and the young soldier stages a coup of his own, with the assistance of a band of brigands (which includes Xiong Xin-xin, as is required by Chinese law I assume).

In the ensuing fight, Hou Jie’s wife is gravely wounded and his little daughter, after being tossed around like a rag doll for a spell then hit by a galloping horse then tossed off a cliff) is killed. At this point, the movie kicks off what is basically an endless parade of people weeping, though to be fair to Benny Chan, at least he mixes it up with a blend of weeping hysterically and weeping solemnly or simply letting a solitary tear roll down an actor’s cheek. Andy Lau and his wounded wife (Fan Bing-Bing, from Shinjuku Incident and Bodyguards and Assassins) turn in a ten minute freak-out during their daughter’s death that looks like they were both trying to outdo Jacky Cheung’s famous scenery chewing freak-outs from Bullet in the Head.

Hou Jie, wracked with grief and rage, wanders out into the countryside and promptly falls in a pit owned by Shaolin’s eccentric cook (Jackie Chan), who of course is going to be the one to dole out in whimsical fashion a series of philosophical platitudes and questions that will cause Hou Jie to realize the errors of his greedy and evil ways, renounce violence, and become a monk. The other monks are suspicious of the one-time warlord at first, but he soon proves himself a dedicated and benevolent changed man. Not so for his underling, though. Cao Man, freed from the shadow of his mentor, embarks on a reign of terror that includes flopping his bangs into his face, slouching, and growing a goatee. He also teams up with a nasty, conniving British general who eventually gives the movie its single greatest, most stilted line reading, and the best example of hilariously terrible acting by a white guy in a Chinese film since the evil Dutch East India guy in Once Upon a Time in China barked, “Who is this Wong Fei-hong? THE DEVIL???” Needless to say, Cao Man will eventually learn that Hou Jie is still alive and thus will declare war on Shaolin Temple. A truly monumental amount of people crying and being murdered in slow motion will result.

To say that Shaolin‘s many stabs at symbolism are sledgehammer subtle would be to underestimate the precision work one can do with a sledgehammer. This movie is an endless barrage of symbolic cliches, from the aforementioned solitary flower on a battlefield to the scene where Andy Lau’s repentant monk slides, in slow motion, down the front of a giant buddha to land resting in its hands. But even that isn’t enough, so Benny Chan then has it rain, so that we can get scenes of rain washing away blood while — I kid you not — a solitary tear streaks down the Buddha’s face. I was shocked that Chan didn’t follow this up with a shot of the entire nation of China crying dramatically in slow motion. As with the lame attempts at emotion and pathos in New Police Story, Benny Chan overplays everything to the point where attempts at tragedy simply become comical, and the ham-fisted delivery of his film’s symbols and messages would seem clumsy in a first year screenwriting student’s first assignment of the year. There is no feeling of sincerity or earnestness. The stabs at emotion and symbolism are so generic and overdone that they feel little more than crass, cheap melodrama. Benny Chan doesn’t try to jerk tears from the audience; he tries to rip them from you using a giant dump truck and a drag car.

Attempting to match the screenplay’s goofily overblown melodrama is the acting. Andy Lau turns in a credible performance for most of the film, but he has a few scenes that push into the realm of ridiculousness. His character’s journey from ruthless overlord to modest monk happens without any sort of journey. He’s a bad guy; his daughter gets killed; he sits in a pit for a day while Jackie Chan talks to him, and then he emerges as the single most pious and devoted monk ever. There’s no sense of development, no hint at internal conflict the way we got in movies like Eight-Diagram Pole Fighter or 36th Chamber of Shaolin, where a similarly violent character seeks refuge as a monk but must constantly struggle to defeat their inner demons. Although those films have less of the air of “prestige picture” about them, they are much better at exploring the struggle in the central character. In contrast, Andy Lau’s character seems to obtain benevolent enlightenment almost instantly.

Luckily, anything Lau does, no matter how overcooked, seems reigned in when compared to the embarrassing performance by Nicholas Tse. In the late 1990s, when the boy band idols were given the reigns of the Hong Kong film leading man status, I thought that maybe Nicholas Tse would emerge from beneath the hair salon addiction and make something of himself. And while he has flirted with doing that from time to time, for the most part he remains still a pretty boy pop idol who plays every role like a pretty boy pop idol. His attempts here to act or laugh menacingly made me cringe and chuckle. He’s just terrible, often humorously so, which makes it even harder to buy into Benny Chan’s desperate and over-ripe attempts to infuse this movie with tragedy and meaning.

The monks fare better, with most of them turning in decent if forgettable performances. Jackie Chan’s turn as the quirky cook is basically him doing Jackie Chan, only a little less so. There is something novel about seeing him play the character his character from older movies so often trained with, but the joke about how Chan is the one monk who doesn’t know any kungfu is as predictable as everything else in this movie. Jackie Chan cameos can often stop a movie dead in its track (see Project S), as it often feels like he wandered in from an entirely different movie, but I think he clicks pretty well in Shaolin. It’s a strange day indeed when Jackie Chan is the actor giving the most restrained performance.

Action direction is handled by the team of Yuen Kwai and Yuen Tak, and it’s the usual modern mix of real stuntwork with tons of wirework. Some of the wirework is well done, some of it not so much, but for the most part, I enjoyed the action scenes. As is par for the course these days, Benny Chan’s camera spends too much time on fast edits and gets too close to the action, but I think maybe my brain is getting to the point where it can decipher this style of filmmaking. Andy Lau is a believable fighter, and Xiong Xin-xin does what he usually does, which is show up and kick the shit out of people. Nicholas Tse has about as much presence as a fighter as he does as an actor, but the rest of the cast is able enough to carry him. The final assault on Shaolin Temple is pretty spectacular, full of all the noble slow motion death you expect from such a film but with the added bonus of a well-executed artillery siege courtesy of that fantastic British general. The action scenes are not great, but they’re good enough to save the movie from the hollow, overwrought melodrama in which it wallows.

All in all, Shaolin isn’t a very good movie, and Benny Chan’s weakness as a director and the screenplay’s endless procession of cliche and hokum can’t be disguised by the big budget epic sheen — which is dulled considerably by the seemingly unquenchable desire of every modern filmmaker to make every film looked dull, washed out, and blue tinted. Seriously, the color palette in this film is so over-processed and dim that I thought the projector was messed up when I saw it. However, Shaolin is bad in a way that still allows it to be entertaining, and entertained I was. There is some good action, and the destruction of Shaolin Temple achieves the epic scope for which the film strives. It’s a shame that Chan didn’t recognize the event itself was powerful enough, and thus he feels the need to undermine it with lots of shots of people crying in slow motion or falling into the hands of a giant Buddha with rain-tears rolling down its face. I wouldn’t really give it much a recommendation, but if you happen across it, it’s dumb but harmless enough. Once people get past the big budget glaze, I think they’ll see Shaolin for what it really is: a hokey, badly acted, poorly written, astoundingly hammy, generally entertaining modern day equivalent to cheap, generic, moderately enjoyable old kungfu films.

At the same time, suffering through Shaolin‘s overplayed attempts at tragedy might make you wonder why you aren’t just watching Eight Diagram Pole Fighter or Shaolin Temple instead, and to that question, my only answer is, “Yeah, why aren’t you?”

Release Year: 2011 | Country: Hong Kong | Starring: Andy Lau, Fan Bing-Bing, Nicholas Tse, Jackie Chan, Jacky Wu, Yu Shaoqun, Xing Yu, Yue Hoi, Xiong Xin-Xin, Bai Bing, Sang Wei-Lin, Chen Zhi-Hui, Liang Jing-Ke, Shi Xiao-Hong | Screenplay: Chi Kwong Cheung, Cheung Tan, Alan Yuen | Director: Benny Chan | Cinematography: Anthony Pun | Music: Nicolas Errera | Producer: Benny Chan

feat

New Police Story

For my money, this is where the wheels started to come off the Jackie Chan cart. Sure, we had already written off his American career after The Tuxedo (though I personally love Shanghai Knights and think Forbidden Kingdom is bland and stupid but largely inoffensive), but this is where the Hong Kong movies that were our refuge started to show signs of rot as well. I was with him through the 1990s, even when he was working with Stanley Tong, a director who has an impressive ability to make even the most talented action star seem dull and uninspiring. I was even with Jackie through the first part of the new millennium, and while some people didn’t care for output like Who Am I and Accidental Spy, I really enjoyed them.

Continue reading