It was assumed when the Twilight novels and movies took over the universe, that we would be inundated with similar works of weepy, melodramatic teen supernatural romance. While that may have been the case in literature — assisted no doubt by the fact that self-publishing for e-book readers means anyone with enough determination to finish a book could get it published and sold on Amazon — the same thing didn’t really happen in film. There was a similar unfulfilled expectation when Harry Potter was the king of the hill, and we all assumed there’d be a billion little boy wizard movies. Despite it’s astounding popularity, only a few cinematic cash-ins ever saw the light of day, and they weren’t all that successful (I don’t think many people are demanding the next installment of the Percy Jackson series). I guess now you can throw Hunger Games into the mix as well. Young adult supernatural fantasy may rule the pop literary world these days, but it didn’t really succeed in setting aflame the big screen, or even the small screen. You’d think that, if nothing else, the direct-to-DVD or direct-to-Netflix-streaming world would be stuffed to the gills with dodgy young adult vampire romances and such, but that’s not the case. And yes, I’ve looked. All I found was a bunch of cheap, shot on digital video Fast and Furious rip-offs, which naturally, I immediately added to me queue.
When Teleport City reviewed the French science fiction animated feature Gandahar, we delved into the history of French sci-fi in animated and comic form, including the birth of Metal Hurlant, the comic magazine that, when it was licensed for publication in America, became Heavy Metal. Tackling Luc “The Destroyer of French Cinema” Besson’s whimsical fantasy-adventure The Extraordinary Adventures of Adele Blanc-Sec allows us to continue our meandering history lesson on French comics and comics magazines. Adele Blanc-sec is an adaptation of a comic strip of the same name, which appeared in Pilote — coincidentally, the magazine that served as an incubator for the writers and artists (including Jean Giraud, aka Moebius, and Enki Bilal) who would leave it in the 1970s to launch Metal Hurlant. Pilote was founded by two writers, Rene Goscinny and Jean-Michel Charlier, and two artist, Albert Uderzo and Jean Hebrard. The four of them worked previously on comics supplements to newspapers as well as providing strips for magazines. Goscinny and Uderzo’s Asterix le Gaulois, a humorous strip about a village of Dark Ages Gauls was Pilote’s biggest hit in the early days and served as the foundation on which the magazine was built. The magazine boasted a number of other popular series, too, such as Blueberry, Barbe-Rouge, and Valerian et Laureline.
If there’s one lesson to take away from this lavish Thai swashbuckler, it is this: if you are a dick to whales, don’t go to war against a guy who is nice to whales and can also ask them for favors.
These days, when folks like us think of Thai cinema, we think mostly of Tony Jaa and Jeeja Yanin, but mostly Tony Jaa. We might think of Panna Rittikrai, but his name is harder for casual fans to remember. And occasionally, some of us may think of Fireball, since, you know, full contact muay thai basketball to the death. Whatever the case may be, we’re thinking about bone-crunching martial arts fights and outrageous stunts. But the movie that really put Thailand on the international action movie map and started making people outside Thailand think maybe they should be paying closer attention to the country’s output was the mustache-heavy period piece Bang Rajan. It was the story of a group of burly men with burly facial hair and burly war hammers beating the shit out of the Burmese. Although based on history, the movie was really just a more muscular, shirtless remake of The Seven Samurai — if there’s one thing Thai epics hate, it’s shirts. By the numbers spectacle film making, yeah, but that didn’t really matter to a lot of viewers; it certainly didn’t matter to me. I loved Bang Rajan and, in fact, saw it before I’d ever heard of Ong Bak or Tony Jaa. Those two films together, though, with maybe an assist from The Eye, drew a lot of attention to Thailand, especially from Hong Kong film fans, who were still shivering, cold and alone in the wilderness the collapse of their favorite film industry had left them to die in.
At time of writing (February 2011), the movie arm of Marvel Comics has three big budget summer blockbusters due out this year. Thor, starring Black Swan and Captain Kirk’s dad; Captain America: The First Avenger, starring Agent Smith and Johnny Storm; and X-Men: First Class, starring Mr. Tumnus and January Jones’s tits. Marvel has become quite the movie powerhouse since the first X-Men movie over a decade ago. This is all a far cry from back in the day, when Marvel was giving away the rights to their properties for the price of a deli sandwich, and not even a good deli either. This led to such classic fare as the Nicholas Hammond Spider-Man series, Albert Pyun’s unique take on Captain America and that Roger Corman version of The Fantastic Four that was too awful to be released – of course the same could be said of the big-budget Tim Story version, but that didn’t stop them.
To the martial arts cinema purist, the phrase “made in Taiwan” doesn’t exactly stand as a guaranty of quality. It was Hong Kong, after all, that played home to the Shaw Brothers and Golden Harvest brands, as well as the galaxy of first rate talent that they attracted. Taiwan, on the other hand, appeared to have a lot of anonymous fields and quarries in which fights could be staged without any risk of expensive props or set elements being damaged. But what Taiwan’s martial arts cinema lacked in terms of budgets and top notch performers, it made up for in crazy. In other words, while the fighters in an old school Taiwanese kung fu movie were less likely to be as skillful as those in, say, a Liu Chia-Lang film, they were also much more likely to be wearing mangy gorilla suits.
On occasion, we here at Teleport City are accused of being, perhaps, not the most discerning of viewers, susceptible to pretty colors, flashing lights, and naked flesh that blind us to the fact that a movie might otherwise be one of the most atrocious pieces of crap ever made. Frustration can occur when someone looks to us, sees us shrug and go, “It seemed all right to me,” and takes that as a recommendation that eventually winds up with them writhing on the floor, clutching their head in agony as they succumb to the mind-melting wretchedness of a movie I thought wasn’t really all that bad. I can’t say I have done such things with a completely clear conscience. I may have mislead a few people into thinking the Star Wars Holiday Special was going to be hilariously awful instead of just regular ol’ boring awful. But for the most part, it’s true that I enjoy a lot of really terrible movies that I recognize other people probably should not watch. And the sad, sick thing is that I don’t enjoy these movies with any sense of ironic detachment or “so bad it’s good” emotional distance; I genuinely enjoy Treasure of the Four Crowns.
The years 1976 to 1986, roughly spanning ages four to fourteen for me, seem to be when I discovered the bulk of what I would end up liking for the rest of my life. At the time, my enthusiasm for entertainment that was sometimes, to be charitable, of dubious merit, could be chalked up to simple naivety — the juvenile tastes of a juvenile. Perfectly acceptable, even if it did mean that I was prone to celebrating things like Treasure of the Four Crowns and Gymkata. However, years — nay, decades — later, I find that when I go back and revisit these films so beloved in my youth, rather than having a quiet chuckle at how silly I was back then, I actually enjoy them just as much. And sometimes even more.
As I said way back when in our first review of a Chor Yuen film, and likely in every subsequent review of a Chor Yuen film, discovering his body of work was one of the best cinematic things to happen to me in years. Since that day I first brought home the then newly released DVD of Killer Clans, I’ve made it a point to purchase any of the wuxia films he directed for the Shaw Brothers Studio. Needless to say, the films are not as surprising as they were during those heady first few dates, but I can say we’ve definitely settled down into a very comfortable and happy relationship. His films still prove immensely entertaining, and the more familiar I become with it, the more I notice the differences that occur from one film to the next within what I reckon we should refer to as Yuen’s Martial World.
It seems like there was a period in the history of Hong Kong’s Shaw Bros. Studio when Sir Run Run Shaw had a bright red rotary telephone stored under a cheese dome sitting atop his desk. Whenever a completely loony script landed on his desk, he would calmly pick up the phone and it would automatically dial a pre-programmed number which would be answered by Danny Lee, sitting across the studio, presumably wearing a tight polyester shirt adorned with some distasteful paisley pattern. How else can you explain the man’s appearance in a string of the studio’s first real forays into the world of crazy kungfu? Although the Shaws would produce no small number of truly batty kungfu films, especially during the late 70s and early 80s when the company was on its final leg, their early forays into left field all seemed to have the common denominator of young star Li Hsiu-hsien, soon to become Danny Lee.
It wouldn’t be difficult to interpret The Web of Death — the third in director Chor Yuen’s long cycle of films adapting contemporary popular wuxia novels — as something of a cold war parable. In it, a Martial World clan by the name of The Five Venoms Clan is in possession of a super-weapon so powerful that the clan’s leader has decreed that it should be put under wraps and hidden away for the good of the Martial World as a whole. That weapon, the Five Venom Spider, is revealed to us in the film’s opening minutes, and that’s a good thing; while definitely kind of neat in a cheeseball sort of way, the Five Venom Spider is not the kind of thing that could live up to an extended build-up. What it is, in fact, is a normal-sized tarantula that, when released from its ornate cage, glows green, emits the roar of a raging elephant, and then shoots a deadly, electrified web to the accompaniment of much billowing of smoke and flying of sparks. It’s a weapon that will be deployed to amusing effect throughout Web of Death, but which has the unfortunate side effect of saddling Chor with a conclusion in which a room full of fighters who have been established as the Martial World’s bravest and most accomplished cower away from a spider. But more about that later.