It’s become popular in recent years for authors to write stories with the high concept of, “What if James Bond creator Ian Fleming had real-life James Bond adventures?” There have been several books published by several different authors using this as a premise, and two made-for-television movies (the most recent one airing on Sky in the UK and BBCA in the United States in February 2014). Certainly Fleming’s biography lends itself to such supposition. He was, after all, a notorious womanizer and drinker, a gadabout of the first degree from a well-heeled family that circulated in the rarefied airs of British society. And it’s true that he was a member of British Naval Intelligence during the Second World War and rightly earned a reputation for cunning and original planning (but no cunning plans as cunning as a fox that’s just been made professor of cunning at Oxford University).
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 unique Shanghai brand of jazz that combined American swing with traditional Chinese music), a title stolen from an F. Scott Fitzgerald novel, and Chow Yun-fat in a cool suit blowing suckers away. Pretty perfect set of ingredients, right? Unfortunately, the chef is the frequent butt of jokes here at Teleport City, Wong Jing. Under his stewardship as director, all these wonderful elements almost come together into something great. There are moments of brilliance in this film, and moments of stunning beauty and excitement. But there are also some moments that are just terrible, and many that are just sort of stumbling. The whole thing is a bit awkward. In other words, it’s a pretty typical Wong Jing directorial effort, with more good than bad but not as much great as I was hoping for.
In 1958, Dracula would return in name but not with the familiar face of cinema’s best-known and most beloved Dracula, Bela Lugosi. Bela would return to the screen several times as a vampire, but never again as Dracula. So Dracula returned in Return of Dracula without Bela, and Bela returned in Return of the Vampire, without Dracula. Granted, Return of the Vampire pushes Bela’s character, Armand Tesla, as close to Dracula territory as it possibly can without getting slapped with a lawsuit, but that’s all part of the fun of vamping in the aftermath of Universal’s 1931 landmark Dracula, to say nothing of the need to occasionally satisfy/pay the estate of Bram Stoker. And Dracula or not, Return of the Vampire feels like the legitimate sequel to Dracula, even if intellectual property says it isn’t. Disentangled from all that, however, we are still left with an exceptionally enjoyable horror film with a unique setting and interesting lead character.