World, you spoil us. No matter how much we’ve seen — and we have seen a lot — you always have something else waiting in the wings to delight and make jaws hang slack. Martial arts films are especially fecund … Continue reading Dragon Lives Again
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.
Well I just… I mean… you know. Huh. How about that? I guess to have any hope of communicating effectively about a movie like Hero Dream we have to first summarize the concept of the Hong Kong Cat III film and, more importantly, the batshit insane, anything-goes attitude that drove Hong Kong cinema off the cliff and into pure pandemonium. I’m pretty sure this has come up before, so I’ll keep it brief. Or as brief as I ever keep anything. And after that, we can talk about how I racistly can’t tell the difference between Chin Siu-Ho and Chin Kar-Lok unless they are standing right next to each other, and even then I have problems unless one of them happens to have a bowl cut and a salmon colored blazer.
It’s popular in modern film criticism, both professional and amateur, to look back with a knowing snicker at what we perceive to be the profoundly obvious homoeroticism present in many — if not most — of the beefy, oiled up action films of the 1980s. It’s also popular to wonder whether all this musclebound gay subtext is actually there, or whether we, from our perch in the 21st century, simply inject it in ourselves. The answer of course, is probably yes, we do, but that doesn’t mean that it isn’t there. And thank goodness, because if it wasn’t there, queer cinema would be stuck with a really boring filmography.