At first — and even second — glance, Last Tycoon is a movie that seems custom-made for me and based entirely on some of my favorite obsessions: Shanghai during the 20s and 30s, old-time fashion, Jazz Age decadence, shidaiqu (that … Continue reading Last Tycoon
It’s time to start paying attention to martial arts movies again. We’re not quite out of the desert through which we’ve been wandering, but there’s definitely an oasis on the horizon. Long years of Hong Kong turning its back on the genre, or making movies so bad that you wish it’d turned its back, might finally be over. The new school that Hong Kong forgot to train to take over when guys like Jackie Chan and Sammo Hung got too old seems to finally be graduating, thanks largely to the potentially vast pool of talent in mainland China being opened to fim makers who want a little more authenticity in their action stars. It was slow going. For years after the handover of Hong Kong by the Brits back to China, the behemoth and the city-state were like two people on an awkward first date, trying to figure one another out, making stuttering attempts at small talk. Then came Zhang Yimou’s Hero, which mixed up Chinese and Hong Kong casts and crews and took over the world. Slowly, the two partners got more and more comfortable with each other. And by 2008 or so, they were ready to consummate the union, so to speak.
If you ever wondered what Jet Li would look like as a giant armored pine cone, this is the movie for you. Hong Kong, which I guess is now Hong Kong/China, has been on a “Warring States Period” kick for a couple years now, thanks in large part no doubt to the success Zhang Yimou has had internationally with the genre (and yes, I know his films were set long before the Warring States). I’m not one to complain. Hong Kong has always made a lot of period piece films; it’s just that now that have somewhat more historically accurate costuming and sets than they did in Half a Loaf of Kungfu. This sudden re-emergence of the period piece probably also has to do with mainland China’s willingness to throw money into the projects, not to mention actors and all the landscapes one of the biggest countries in the world can provide. Given the access, how can a filmmaker resist making a movie in which a guy in armor stands atop some impressively craggy peak and surveys a field of soldiers below him?