Bloody Tie is an interesting film because it sports all the polish and big budget precision typical of Korean action films but combines it with a frenetic, almost anarchic approach to filmmaking that makes the entire thing feel like it’s totally bonkers and off the rails even when it isn’t. The closest comparison I have for it is Myung-se Lee’s 1999 film, Nowhere to Hide, but you’d have to take that and mix it up with Goodfellas and a healthy dollop of Kinji Fukasaku’s Battles Without and Humanity, maybe with some Michael Mann on the side, to come close to the loopy energy of Bloody Tie. It’s a deliriously colorful, insane celebration of the very seediest and scummiest cops and drug dealers you can conjure up under Korean censorship laws. Even within those confines the movie achieves a level of sleaze I’m not accustomed to seeing in Korean films.
Compared to the appellations given to the protagonists of other 1980s action films — the Exterminator, the Punisher, the Executioner — the Stabilizer sounds pretty benign. You’d almost think that he was given that name only because all of those others had already been taken. But then you learn that what the Stabilizer is in charge of stabilizing is the very balance between good and evil itself. And that, it turns out, is a job that involves an awful lot of exterminating, punishing, and executing. But if that name was the result of The Stabilizer being late to the game, that might be explained by the fact that The Stabilizer is an Indonesian film, and that Indonesian exploitation filmmakers of its day were generally loathe to jump on any bandwagon until its moneymaking potential had been well proven. There is no word for “art” in Indonesia, after all (I totally just made that up), and if there was one thing that those filmmakers were interested in above all it was a return on investment, especially on the international market. This last caveat explains another trend in Indonesian genre films of the day; the practice of using Caucasian lead actors, which tended to make it easier to sell the movies to distributors outside of Asia.
For me, one of the hazards of watching one of the Kommissar X movies is that it means I’ll have that “I Love You, Jo Walker” song stuck in my head for the next two weeks and will be at constant risk of bursting into it at any given moment, which is actually more of a hazard to those around me than it is to myself. Personally, I don’t care if the world knows that I love Jo Walker (though my wife might have some questions about it). Given that he’s a character with all the depth of a walking Playboy cartoon, it’s actually surprising how lovable he can become with repeated exposure. Death Trip, the fourth entry in the Kommissar X series, is also quite lovable, though only once you get past the expectations that it raises and learn to love it for who it really is.
I had to watch this movie more than once to verify that George Lazenby actually has more dialog than just, “Hmm? Hmmmmm,” mumbled with that smug chin-in-the-air look as if to say he has discovered something important and must now jut forth his chin and stroke it slyly. Who the hell does he think he is? Mr. Bean? He does have a few other lines, but for the most part, he just hums through the whole movie. I know this isn’t the best way to kick off a review, but come on! Speak, damn you! This isn’t Quest for Fire.
Most folks cite the slick gangster film A Better Tomorrow as the breakout film for both director John Woo and actor Chow Yun-fat. And that is, in part, true. It was the film that made them both household names (Chow far more than Woo, at least at the time, when the name of a star was much more important than the name of a director), and it spawned hundreds of imitations. Where Jet Li’s Shaolin Temple made mainland Chinese kids want to quit school and go join the Shaolin Temple, A Better Tomorrow made Hong Kong kids wear Ray Bans and overcoats and quit school to join triad gangs. Woo the Christian pacifist must be really proud of that.
When the idea was pitched for a “counter culture” theme for a B-Masters Round Table, I was both excited and apprehensive. On the one hand, it was a subject with which I had acute first-hand experience, which meant I wouldn’t have to rely simply on theory and supposition to extract some sort of a review from the material. I could ramble on endlessly about some obscure thing that happened to me back when I was sixteen and the world was new. I was, however, also apprehensive, as I am sometimes loathe to throw myself into public discourse regarding the counter-cultures with which I have some connection. Not because I’m ashamed, mind you. Hell, I’m still associated in some way with pretty much every loony thing I ever believed in or adopted as an identity. But I’ve read a lot of the “studies” about these things.
Of all the television shows that have come and gone, few had the personal fashion impact of Miami Vice. Its influence was unmatched up until the day all those girls started getting the “Friends haircut.” While I may like to labor under the delusion that I’ve always been a wildly diverse, counter-culture fringe dweller for all my life and started fighting The Man the minutes I was cut out of my mother’s belly (or even before, since I insisted The Man drag me into his world by force), the sad fact of the matter is that in seventh grade, I was still a year away from my revelation. Though hardly a “business as usual” kind of kid, Lord knows I owned a few audaciously colored Polo shirts, a pair of Duck Head khakis, and a pair of those weird tan, soft leather Bass shoes. Not the boat shoes, but those other ones. At least I wasn’t one of the guys who wore Tretorns. I owned a copy of Thriller, and yes, I owned a Miami Vice soundtrack cassette. So sue me. It was the 1980s, and it wouldn’t be until a year later that I would discover skateboarding and begin my evolution.