Even though I'd watched the other two movies in this trilogy starring Aaron Kwok in the titular role, I had avoided this film due to disparaging reviews of it. I could not bear to watch a strong cast in cringetastic performances. Much to my surprise I enjoyed it. Was it a great movie? No. Was it an average CGI laden offering with a familiar story? You betcha. But that sums up a lot of movies in this genre. I usually set my expectations low and just sit back and enjoy the spectacle whenever possible.

I have no idea whether the story was true to the book, I simply go by whether the movie was entertaining as told on the screen. When a crystal used to rebuild the heavenly realm falls from the sky and creates a special monkey baby, both heavenly and demon realms take note. The young monkey is taken to train with one of the heavenly masters. After finishing training with his sifu Subhuti/Puti where he is given the name Sun Wukong, his master tells him he must leave to learn positive thoughts and attain enlightenment. As he begins his adventures as the Handsome Monkey King on Huagoa, gaining his cudgel and uniform, The Monkey King brought about the three signs that led to the Bull Demon King once again attacking the heavenly realm. Manipulated by the evil horned one, Sun Wukong aids him in bringing about the disaster.

Donnie Yen so seamlessly blended into the makeup and furry suit that I honestly forgot it was him playing the role most of the time. It must have been freeing to perform such a playful role since most of his movies require him to be cold, stoic, and/or angry. He and his stunt double along with his choreography made for agile, creative fights whether on the ground or flying. Chow Yun Fat as the Jade Emperor could play this regal role in his sleep but he did bring a gentleness to his heavenly ruler. Aaron Kwok as the Bull Demon King had less to do, in general being menacingly seductive or menacingly destructive. Peter Ho could be counted on to sneer on cue as the duplicitous heavenly gate guard. Joe Chen as Princess Iron Fan was called on to mostly look dewy-eyed as she tried to steer her man away from a disastrous end.

The music fit perfectly even if it was standard epic fantasy fare. The costumes were well done and what you would expect from the immortal realms. The CGI varied in terms of its quality, but coming out of Hong Kong at this time I was impressed. The underwater realm, especially the giant octopus wasn't very convincing, but I've seen far worse, I watched Big Octopus (2020). The colors and movement could overwhelm the story at times, however, we are talking about a magic monkey and horned evil dude taking on a dragon, so I just rolled with it.

This movie isn't for everyone. It could be campy, okay, was campy more often than not, but that's something I don't usually have a problem with. There was a fairly simple storyline, even if some of the periphery stories were give short shrift, with lots of martial arts action and bright shiny objects. Yen, Kwok, and Chow all did a more than adequate job of conveying their characters. Out of the three films this rated pretty evenly with the second in the trilogy for me. Even if I knew where the story was going from the beginning, having watched other Monkey King movies, it didn't take away from my enjoyment. The road getting there was adventurous and charming enough to keep my interest.


3/9/23

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Ghosts, and zombies, and vampires, oh my!

Check your brain at the door and hope there's not a manic Taoist priest nearby. Kung Fu Zombie is so bad and so stupid it's almost good or at least funny. Billy Chong has to fight a ghost, hopping vampires, real life baddies, a possessed father, and a maniacal vampire in just around 80 minutes.

Fong Fang is the rebellious son of a stern and overbearing father (Chiang Tao having a grand time) who pushes him hard every day in order to be able to fight the Long clan who has a vendetta against them. His words of wisdom when his son wants to take a break, "Meditation is time off." His idea of meditation for his son, is for the son to be tied up while sitting in a giant crock of water. Not father of the year material, but it does pay off when Fong not only has to fight one of the Longs, but also a Long that has turned into a kung fu blood sucking vampire due to a Taoist priest's incantation being disrupted. Cheng Kei Ying plays an inept baddie using the Taoist priest to try and control hopping vampires to kill Fong Jr. Just his luck he's the one who ends up not only dead but a ghost as well! He and the priest go corpse shopping at the local morgue to try and find a body he can be reanimated into. When Fong's dad dies of a heart attack, a body presents itself and the bad guy now wants to use Fong Sr to have revenge on the son. Fong Jr and the hapless priest have to team up to kill two dead guys.

This movie uses wire-fu, trampolines, reverse camera work, and super sped up camera work in a ridiculously fun way. I enjoy Billy Chong's fighting, but he is not a skilled actor even for the genre. To his credit he was young and pretty and never missed the chance to lose his shirt and show off his toned, oiled torso. Even the fights that weren't sped up were quick enough. This was my first time to see human yo-yo kung fu! And the movie also gave new meaning to the terms hot hand and hot foot.

Chong's selfish, childish, and arrogant character was unlikeable for the most part. Thankfully, he did more fighting than talking. The editing was super choppy, possibly due to 20 minutes being cut from the original film, but I'm fairly certain the editing would have been poor regardless. A 100-minute running time shoring up the story would not have helped because the frenetic non-stop action and gags were the only thing this film had going for it. The musical score was as scattered as the plot using a jaunty chase music one moment and shamelessly lifted portions from the James Bond theme the next. The sound department made full use of its zany sound effects to remind you at all times this was a comedy. There was a minimum of vampire gore and papier mache corpses. The most disturbing scene involved a puppy-dog lovers be forewarned.

I learned some valuable lessons from Kung Fu Zombie. #1-the dead can't enter a temple or walk past a picture of the Buddha or they are hit with red lasers. #2-the dead can't enter a jail for the law is the arm of god. #3-huge green leaf hats render the wearer invisible to the dead and practically so with the ladies. They just don’t teach you this stuff in school.

Kung Fu Zombie is everything you want in a cheap kung fu flick with this title. Only for fans of older kung fu movies who know how to set the bar low, like on the ground. For those who don't mind a little cheese to go along with their beefcake, it might be one to try. Remember to bring your leaf hat!


3/9/23

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"A samurai's wife sends off her man with a smile"

Samurai III: Duel at Ganryu Island brings the great samurai's tale to a close in this trilogy. Miyamoto Musashi has gone from hot headed youth to a wiser, accomplished swordsman. He will still have to deal with his rival Sasaki and the two women vying for his love in this film as he seeks out a better life.

Musashi has followed the advice of his advisors and only fights when he knows he will have no regrets. He finds other ways to avoid fighting while not losing face such as catching flies (before Mr. Miyagi!) with his chopsticks to warn a room full of rowdy men of his prowess. Swordsman Sasaki finds him and challenges him to a duel. Musashi seems to have no burning desire to do this putting him off for a year. He and his young companion and another man travel to a village that has been devastated by bandits. Here he builds a hut and begins to farm the land. Coming full circle, this time he appreciates the lessons the earth has to teach him. His peace is shattered when not only Otsu, but Akemi show up on his doorstep. He spurns Akemi and she cooperates with the bandits who are planning to burn the village to the ground. In a calmer manner than he did in Seven Samurai, Musashi once again draws his sword and takes care of business. Before meeting with Sasaki for their duel he finally communicates with Otsu and settles their personal affairs. The duel on an island with the sun behind Musashi while he stands in the surf with a large wooden sword raised was stunning.

The paths of the two elite swordsmen were very different. The Shogun's officers courted both Musashi and Sasaki for a high-level position with Musashi turning them down. He was seeking a peaceful life and no longer needed to validate his skills by killing men he had no argument with. Sasaki gloried in his notoriety as a samurai in a high position. And I will not forget he raped Akemi in a previous film where Musashi stopped when Otsu told him no. In the end, Musashi, standing in the waves that would continue to lap against the shore no matter who won or died seemed to realize the futility of their behavior.

As with the other two films, I don't know a kinder way to say that Akemi and Otsu were as emotionally sound as two bags of cats. Musashi had never given Akemi any indication he was interested in her but despite all that had happened to her she still obsessed over him. Otsu wished he just an ordinary man, but would she have still loved him if he had been? She fell in love with his fire and knew his love of the sword from the beginning and yet she stalked him to the ends of Japan to plead her case. Having both of them throwing themselves at him and behaving irrationally took away from my enjoyment of this film and didn't make Musashi seem any more virile. Finally, Musashi actually told Otsu his feelings for her. In all his self-development someone should have clued him in that women do not respond well to silence.

The cinematography was lovely when they used natural settings. In the opening scene, Sasaki and Akemi were standing in front of a beautiful waterfall with cascading rainbows. The final beach scene was colorful and moving watching the two men's silhouettes posturing, looking for the fatal opening. The wigs and clothes were rougher and less pleasing than in the second film. Musashi might be going back to nature, but a comb never hurt anyone. The fights were typical 1950's swordplay. No blood for the most part and it was swing and fall action.

Mifune Toshiro played Musashi as the grown man he was by this film and even in a more subdued mood, his charisma still shone. Tsuruta Koji did a good job with Sasaki and his casual cruelty and arrogance. The actresses did the best they could with the female characters, characters too annoying to be pitiful.

Of the three films, I enjoyed the second one the most followed by this film. There were fewer fights and duels in this film than the last as Musashi was consciously avoiding violence when he could. Duel at Ganryu Island made a proper ending for the trilogy with the unbeatable samurai stepping away from the life he had chased after in his youth with one last moment of graceful brutality. The difference afterwards was that he felt the weight of his actions and the loss of life more profoundly than before.

3/8/23

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"Swordsmanship means right-mindedness"

Samurai II: Duel at Ichijoji Temple continues the story of Miyamoto Musashi from the first film. Where a young Takezo/Musashi spent much of the time in the first one running around in the woods with angry villagers chasing him, this time he spends a lot of time evading ambushes by a school of samurais that are offended that this nameless swordsman can soundly beat any of them. He also has the two women who loved him from the first film hot on his trail. What's a swordsman to do?

True to his word, Musashi wanders the countryside in order to hone his skills. He duels a man with a chain and scythe, defeating him easily. A monk watching the duel tells him he's too strong and that a man's strength is not forever. To become a true samurai he must learn chivalry as well. Musashi puts a pin in that and takes on the Yoshioka School demanding a duel with the young master of the house. The samurai in the school don't think their master is up to it and seek opportunities to ambush the unknown swordsman.

Meanwhile, the characters from the previous film have moved on. Otsu has gone back to the temple forlorn over Musashi choosing the sword over her. Akemi is working as an entertainer for men, with her mom pimping her out. Her mom, Oko, now married to Musashi's friend Matahachi is cheating on him and waiting for the chance to sell her daughter and ditch him. Akemi still pines for Musashi but is being courted hard by Sasaki, another gifted swordsman. And of course, Matahachi's mom is still crying out for Musashi's blood even after she literally bumps into her ne'er-do-well son. Just for good measure she adds Otsu onto her blood list.

Some battles are better than others as we aren't always shown the end of the fights, only the deadly outcomes. Many fights are at dawn or at night, filmed in the day to look like night which can make the action hard to see. The final battle shows Mifune's fiery fury as he battles 80 samurai, having to use strategy as well as his sword. He also learns much to the priest Takuan's delight when to beat a hasty retreat. Even after treachery and blood lust, the future noble fighter, writer, and artist learns compassion or at least chivalry. He also renounces women. With the crazy ones in his life, might not have been a bad idea.

Mifune Toshiro truly made this character come alive with a wide variety of emotions. His energy and charisma are hard to resist watching. Godzilla's Hirata had few scenes, but the terror in eyes facing Musashi was greater than when facing the Big G. Once again, the women were portrayed in typical 1950's sexist fashion. They were dangerously jealous, short-sighted, obsessive, liars, and emotionally unstable all around. Throw in murderous as well. And then there was Akemi's mother who sat idly by while her daughter was raped so that she could profit off her. Not a good apple in the whole feminine basket.

Though there weren't as many scenic outdoor scenes as the first film, there were still enough to satisfy most viewers. The indoor and outdoor sets varied as to how well they came across. Some were quite realistic and others might be found on a theater's stage.

Samurai II was a more compelling film than the first with more dire consequences and challenges for a majority of the characters. I look forwarding to watching the final installment to see how Musashi transforms on his walk to become a better swordsman and more mindful person. And whether in all the spiritual enlightenment he receives he learns how to take a woman's rejection better.

3/8/23

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The drunk, the cat, and the hammer

Near the end of Chia Ling's movie career, she starred in No One Can Touch Her. For a 1970's kung fu flick, she gave a nuanced performance as a grieving and vengeful daughter suffering from blindness after a brutal attack. Never giving up, she began practicing drunken kung fu and even kitty kung fu.

Chin Lin's father was murdered in front of her by a curious menagerie of bandits. She was blinded and became known as Brother Blind. Drinking copious amounts of mostly stolen alcohol, she and her only friend, a young boy with a sling shot, roam around as she continues to practice her kung fu. Along the way she is reunited with the man who had wanted to marry her and still does and becomes friends with a woman named Wong Mei Gwan (Sun Chia Lin). Also in town is a buffoon of a police inspector and a large man who does manual labor known as Brother Mallett. The Inspector takes an interest in Brother Mallett and soon the big guy is unknowingly practicing the Hammer Hand. The 14 bandits and 2 giants break up a wedding and the fighting and betrayals go to a new level.

The fights were plentiful in this movie, especially the last third of the film. These were fairly typical 70's strike, block, and lock fights. The final fights were more creative using a variety of weapons, even an opium pipe and a cat. Chia Ling did a good job with the drunken fist style and cat style (house, not tiger), so drunken cat style? She appeared to be the most athletic of the lot with Chin Kang, also one of the choreographers, right along with her. Her fight using two swords against a nameless bandit was the most fluid of all the fights. Chin Kang tended to play a lot of baddies so it was pleasing to see him in a more heroic role. With 13 or 14 bandits and 2 giants, there were a lot of opportunities for fights and not a lot of opportunity for character development. Despite her limited screen time due to the large cast, Chia Ling gave a rather complex performance for a 1970's kung fu movie. Director/Writer Ting Shan Hsi also wrote the script for one of my favorite old female led kung fu movies, Come Drink with Me and you can see his writing style shining through here.


Even with the solemn theme, there was plenty of levity, often focusing on Inspector Buffoon and Brother Mallett. Turns out the goofy inspector wasn't wrong about being smart and a kung fu genius. There's a nice little twist at the end even though most people will see it coming. NOCTH wasn't great cinema but it kept my attention and gave me a few laughs and fun fights to watch, I don't ask for much else from martial arts films from this era. I would only recommend for old kung fu movie buffs and Chia Ling fans. As always, I rate these niche, low budget movies on a curve.

3/5/23

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Warning: Convoluted plot may cause dizziness

Gordon Liu stars in The Drunken Monk (the more common title), which is a misleading title. He's not a monk and rarely practices the drunken fist. If that's confusing, it's okay, because much about this movie is confusing. Perhaps it should have been called Drunken Writer for the dizzying way the story is told.

The story is not told in chronological order so here is the gist of it. Lau Chung was saved from drowning when a gang that had killed his parents threw him into a lake. During his beggar times he discovers a drunk hermit who practices drunken fist kung fu. The hermit teaches Lau the Five Shaolin Animal Styles and Drunken Fist. No one trains like Gordon Liu and Lau uses everything he does to enhance his kung fu. When he's trained and ready for revenge, he kidnaps Ying Ying, the Big Bad's daughter, to draw out his enemy. Things do not go according to plan with Ying Ying or her father. As these things happen, Ying Ying and Lau fall in love with each other and leave her torn between her lover and her duty to her father. A one-handed fighter is also wanting vengeance on Eagle Han's Big Bad Wong Kin Chung in retribution for the loss of his right hand but as much as they might focus on this guy, this is Lau's revenge story.

The story goes back and forth, motivations change, terrible editing makes it hard to follow at times, basically, the story may make you feel like you've been on a bender if you try to make too much sense out of it. The ending may have you going, "what?!" At least it did for me. Usually I'm a fan of Gordon Liu's fighting and he's as fast as ever with this one demonstrating a number of kung fu styles. One scene done in slow-mo was fascinating not in the way they might have intended, as Gordon goes to kick the extra, the extra can be seen jumping backwards before the kick is supposed to land. While his drunken master was more convincing doing drunken kung fu, maybe because he was supposed to always be drunk, Gordon's drunken style wasn't as…drunken. There were moments in his fight with Eagle Han where it almost seemed as if they were kung fu dance posing. I kept waiting for them to cue some disco music. Gordon had some good fights and there's no denying he's fast, these fights just didn't seem to measure up to his usual standard.

The film was shot in Korea with a number of Korean actors and extras. It was interesting seeing the different faces rather than the usual Hong Kong and Taiwanese crews. And the scenery in South Korea was also beautiful. It's a film worth seeking out if you are a Gordon Liu fan, enjoy his training montages, or simply like old martial arts movies, but be forewarned it should come with a label that watching it could make you feel tipsy.

3/4/23

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Flirty Kung Fu Fun!

Win Them All was directed by Kao Pao Shu, one of the very few female directors of kung fu films during this era. Though the main plot was a daughter's revenge, that plot was largely overshadowed by her con artist co-hart's antics which actually made for a campy, silly kung fu movie for three quarters of the screen time. Kurata Yasuaki, a real martial artist, gave the film some fight credibility as the gleeful iron finger killer.

Hsu Feng plays the daughter whose father was murdered by the iron finger method. She's out for revenge and somewhere along the way hooked up with two scam artists, Hu Chin and Chen Hui Lou. Hu Chin fights, flirts and scams greedy men to keep Hsu's mission funded. Tien Feng is the Big Bad as he often was in these old kung fu films, well protected by Kurata's deadly fingers. When the women are confronted by Tien Feng's goons Hu Chin not only manages to beat them, and rob them, but leave them pantless as well! Flirty Fu style! They are soon joined by Wong Yuen San, a rather bland officer from the security bureau. For some reason he's accompanied by his annoying and jealous "sister". After numerous fights with the underlings, it all comes to a head with inevitable fight between Wong and Kurata. Disappointingly, the vengeful daughter has no hand in the final showdown.

Most of the fights were pretty good, especially with Kurata involved. Hu Chin, not a fighter, had tremendous help from the gifted stunt men and actors who flipped, flew, and bounced after taking her "hits". In the grand finale, her character somehow completely forgot how to fight and added nothing to the free for all. Wong had some martial arts skills but the character wasn't very charismatic. Kurata, on the other hand, was an accomplished martial artist and he brought speed and agility to the fights with a frightening malevolence. Some of the kicks obviously missed but I can forgive the missed kicks with these kind of faster fights in old budget films due to safety reasons and not always having the money to do many reshoots. The biggest problem I had was that Kurata's character was skillfully and ruthlessly pummeling Wong's and suddenly Wong defeats him. With all the ridiculous things that had gone on for nearly 90 minutes, that was the most unbelievable. No wonder Hsu wasn't allowed into the final fight, Wong was barely believable fighting Kurata.

As always, I grade these 1970's martial arts films on a curve. Win Them All was a fun, flirty, romp with a dark thread running through it. Kurata brought the danger and was an absolute joy to watch kick and move through the final fight. Hu Chin's character managed to not be completely annoying and brought a feminine energy to a very masculine genre. I wouldn't label it feminist, but for 1973 at least Kao Pao Shu made an attempt at putting competent female characters at the forefront.

3/4/23

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No holds barred fun!

Flash Point is a good old fashioned Hong Kong crime drama with plenty of shoot-outs and hand-to-hand combat between cops and bad guys. The story is paper thin and the writers didn't worry about using almost every trope from the genre. What sells this movie is the fight choreography---your enjoyment will be determined on how much you appreciate watching Donnie Yen and Collin Chou fight in their prime.

Donnie plays a detective who is always being disciplined for being too aggressive with perps in his job. The upper white shirts allow it because he's so good at closing cases. His latest case involves his partner, Louis Koo as Wilson, who has gone undercover with three vicious Vietnamese smugglers and their gang. The first half of the movie has a modicum of action, it takes the time for us to build empathy for Wilson who is not the brightest UC cop and Donnie whose only motivation in life is bringing down criminals. It also shows just how violent the three brothers are so that we can wait with anticipation for Donnie to clean the floor with them. As the officers close in on the bad guys and appear to have a strong case with numerous witnesses, the witnesses are murdered one by one until Wilson is the lone person to be able to testify. Character building time is over children, now the blood letting begins. I started thinking of Wilson as Timex, he took a licking and kept on ticking, it almost became comical how many times he was injured. Don't expect much from the basic plot because it had as many holes as a paper practice dummy.

The high point of this film was in the final act as the bodies started stacking up. Even something as simple as jumping a fence became a chance for doing something more creative. During one brutal battle, Donnie's character loses control and the blood lust overtakes him leaving him shaken. The final extended fight between Donnie and Chou was worth the price of admission for this movie. It was vicious, fast, and well-choreographed combining a number of styles and looking more like MMA than kung fu. While there were a few "movie moves", for the most part the brawling seemed fairly realistic. And brawling it was as the two not only kicked and punched but grappled on the ground with bones breaking. Donnie won a Hong Kong Film Award and a Golden Horse Award for Best Action Choreography and he earned it. The stunt guys who did the more dangerous work are to be commended as well.

The loose cannon cop who doesn't play by the rules and the bad guy who can get to anyone has been done a hundred times over and this film certainly didn't break any new ground. The entertainment value for people who love Hong Kong crime and action films lies in the ferocious tension filled confrontations. You may groan at some of the idiotic mistakes the police make but you may also hold your breath in wonder at how fast and limber Donnie and Chou were and remind yourself it may just be acting but these cats were fast as lightning.

3/1/23

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"The world is like a lottery, you take your ups and downs"

A Story of Floating Weeds is an early silent film by Director Ozu. Many of the tenets of his later films would be found in this story of an aging actor and his abandoned and found families. The tiny troupe's resiliency would be tested in life's ups and downs.

Ozu loved this story so much that he would remake it in 1959. I wrote a review for that one and I can say that the two films are strikingly similar, right down to the staging of some scenes. The 1959 version is longer and of course has more dialogue, bit characters were given more scenes, as well as the lovers. I found the 1934 version charming even though it was not as fluid and as narratively filled in as the 1959 version.

Kihachi and his troupe of floating weeds, another name for itinerant actors, return to a small mountain village to perform their Kabuki plays. The rainy season pours not only outside but also inside the little theater bringing their performances to an end.

During their rain breaks, Kihachi visits an old lover and his beloved "nephew", actually his son, and enjoys time playing games with him and fishing with him. Shinkichi has graduated from an agricultural college and is continuing his studies. All seems blissful until Kihachi's lover, Otaka, finds out about his secret family and cries vengeance. She hires a young actress to seduce Shinkichi to get even with Kihachi over his deception. This plan blows up in her face when the two young people fall in love and Kihachi finds out and breaks up with her. Meanwhile, the struggling troupe runs out of money and has to sell everything and disband. When it's revealed to Shinkichi that his uncle is actually his father, the young man understandably refuses him. This is the man who had abandoned him and his mother. His mother, Otsune, pleads on Kihachi's behalf telling her son, he didn't want him to be raised as the son of an actor. Kihachi is left adrift, unsure of what to do next.

Some of the scenes Ozu would use in the remake were here, significantly, the powerful argument between Kihachi and Otaka on opposite sides of the street in the pouring rain. It wasn't as visually impactful, but certainly as emotional. Unlike the later remake, the film began and ended with a train ride due to the mountain setting. The final scene with Kihachi and Otaka traveling away from his son to an unknown future was poignant.

All was not melodramatic, Ozu knew when to throw some humor into the situation. Two actors in a horse suit and a little boy in a dog suit brought about a smile. Unlike his Tokyo Woman, he withheld the tragedy and overt drama, finding his footing in the banal and temperamental life of the family.

I found this film to be more rounded than his earlier work such as Dragnet Girl, Tokyo Chorus, and I Was Born…But. The story felt more thorough and the characters more fleshed out. The detailed composite scenes with pauses for reflection also felt more polished. In a couple of years he would delve deeper into family life, this time with an abandoned mother, with The Only Son. Though sound had been around for a few years, Ozu delayed using it until he felt it had been perfected. With the placards I was able to follow the action easily. I watched a restored Criterion version and it was cleaned up nicely compared to so many of these old films which have been left faded and badly pocked marked. They'd also added a simple music score which fit quite well without sounding too out of place. As always, I look for his teapot scene and even in 1934, it had its closeup!

Despite bitter and surprising revelations, true to Ozu, for the most part there were no histrionics. His characters, as always, were restrained. The only exception was when Kihachi struck the two women who betrayed him as well as his son. The physical violence was quite jarring in this emotionally guarded film. Sadly, Ozu kept the beatings in the remake.

Even in the silence of the black and white film, the beautiful settings shown through. The strength of Ozu's films are the people who nearly always feel authentic making you care about their problems. Kihachi and Shinkichi fishing in quiet unison in a river seemed like a father and son anywhere in the world. Shinkichi and his actress lover made his father worry that he wouldn't be able to be a great man, but Kihachi still forgave the young woman and laid his child's future on her slim shoulders. Kihachi and Otaka weren't always easy people to like but Ozu showed so many sides of them that you still found yourself hoping they would succeed and end up in a better place as better people. Ozu doesn't lay the answers out easily, rather leaves the fate of his characters only hinted at in his enigmatic way.

2/9/23

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"If you fight you suffer whether you win or lose"

Tomb of the River aka Paid in Blood is a Korean crime film about a gang war erupting over a casino being built ahead of the 2018 Olympics in Gangneung. While the story didn't reinvent the crime wheel, there were strong performances that made for an engrossing film.

Kim Gil Suk, played by Yoo Oh Sung in a brilliantly nuanced performance, was the head of one of the gangs overseen by an older gangster. The old gangster has become very zen and convinces Gil Suk against violence when he can. After the head of one of his other gangs allows drugs into his karaoke club, the old gangster offers Gil Suk management of the casino. Gil Suk, being the loyal guy he is, turns it down since it's not his territory. As far as he is concerned the casino belongs to the whole gang and not just anyone or any part of the organization. He is about to have his sharing is caring philosophy challenged when ruthless loan shark Lee Min Seok crashes onto the scene. Jang Hyuk gives Min Seok a lethal energy in a strong performance.

Min Seok starts slicing and dicing his way to the top in an effort to take over the casino. His brutally vicious pre-emptive attacks take the gangsters by surprise and it doesn't take long to carve them up. The code and loyalties are severed. Long standing alliances are broken, betrayals run rampant as everyone scrambles to survive and try to hold on or move up.

Despite all that has happened, Gil Suk makes a last attempt to negotiate with Min Seok to avoid more bloodshed. Min Seok trusts no one and believes that conversation never solves anything, he'd rather talk with his knife. Gil Suk's police friend, Lt. Cho attempts to reason with his friend, telling him romance isn't dead, let the police handle the villain. With the bodies of friends and colleagues having stacked up, Gil Suk has lost faith in the more civilized ways of doing business. "Romance is dead," he tells his friend. Min Seok puts it more succinctly, "Only death will end things."

Though they are still thugs in expensive suits, the waters are calm when the film starts, with everyone working together. Min Seok's gruesome entrance aboard a smuggler's boat strips away the façade of humanity, showing what he would do to survive. His rampage reveals the human greed and depravity lying below the surface of the unified gangs. Before it's all over, basic instincts are tested in a stormy war of survival.

Having seen numerous crime films, this was not a revelatory take on the genre, but it was well made and the acting set it apart from some others I have watched. The music, especially in the final scene, fit the mood perfectly throughout the film.

"Why did you turn this place into hell?"
"I didn't decide anything. The word decides these things. People just follow."

And indeed, one by one, the gangsters follow the path into hell, with no way back and no way out from the violent spiral downward. If you are looking for a new take on an old story, this will not be it. However, if you are in the mood for a bloody crime noir with good performances, this might fit the bill.



2/8/23

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“Things are never quite as scary when you’ve got a best friend.” — Bill Watterson

Learn from Experience 2 picks up where part 1 left off. Instead of focusing on Toyomi and Shintaro's ill-fated love affair, this film focused on the friendship of the three women at the center of the story. Given that their friendships were by far the most compelling story element in either film, this was a good thing.

Toyomi has left home and is working at a dress shop having hidden her pregnancy from all but her best friend, Michiko. Yurie and Shintaro became engaged and he is now working for the Ministry of Foreign Affairs. Yurie, in that standard movie feat of incredible coincidence, walks into the dress shop where Toyomi works. They end up becoming fast friends unaware they have shared the same man and that Toyomi is carrying his child. When Yurie and Shintaro go on their honeymoon, Toyomi gives birth to her baby girl. Toyomi leaves the dress shop and stays with a friend of Michiko. Yurie hunts her friend down and generously invites her to come live with her while her husband is stationed overseas for several months. Toyomi resists but Yurie is a bulldozer and soon Toyomi and child are safely ensconced at Yurie's house. The viewer knows eventually Shintaro will return home and realize he has a child which of course he does. And that he will muck it up as well. Which he also does.

This film was more enjoyable for me for much of it because of the focus on the women and how Toyomi was cared for by her old friend and her new one. Even Toyomi's mother accepted Toyomi and her pregnancy. The strength and understanding of the women made this film and it was all the better for the lack of screen time for cowardly Shintaro. Even his friend could read him. "You can't say no to a rich girl."

In the end, Yurie asks Toyomi to give her daughter up so that Yurie and Shintaro can raise the little girl. They will make the child their heir as further enticement. Knowing the uphill climb before her and her child, in 1937 an illegitimate child would not be readily accepted, Toyomi acquiesces. Yurie dearly loves the baby making it easier for Toyomi to let go. As the sweetly uplifting music plays during the finale it feels like we are supposed to think it's a happy ending for everyone. Toyomi has become a kindergarten teacher, finally dressed in western style clothes. Shintaro is playing with the baby and Yurie has introduced the child to her parents. I still found the ending concerning Shintaro galling. The rich, entitled, man married the wealthier of the two women he was involved with and not only gets Yurie and her money, he also gets Toyomi's child. It would have been easier to swallow if Shintaro was constantly stationed overseas, or died when his conscience fell on him, and Toyomi and Yurie like a couple of sister wives raised the little girl together with help from Auntie Michiko and Toyomi's mother.

Perhaps part 1 could have been the only film and let Toyomi walk away tall, finding her way in the world with her unborn child. While giving her child up might have made it easier on the child and Toyomi, Toyomi's grief was not touched on in the "happy" ending. And Yurie never seemed daunted by the character of the man she had married. Naruse was never afraid to twist the knife so I'm surprised everything was wrapped up with a big pink bow on it regardless of the source material. The film had a melancholy slice of life feeling going for it and the nearly 3 hours for both films felt stretched rather thin. The compassionate and resilient women and their stellar performances will be the only memorable things I take away with me from these films and that's more than some films.

2/6/23

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"She cries and calls his name, but there is no answer"

Director Naruse Mikio developed a two-part movie from a novel written by Kicuchi Kan. As with many of his films, he centered the film around a woman, one who had been done wrong, and must find her way by herself.

Toyomi and Shintaro were in love and planning to marry, that is until he visited his family. His father who had brought their rice company near bankruptcy needed Shintaro to marry someone who would bring in a large dowry. Toyomi's family was comfortable but not able to afford the money he needed. The father also wanted someone whom he felt would be a better fit for Shintaro's future as a diplomat. Initially, Shintaro agreed to meet Yurie, knowing he was not going to marry her. This being a Naruse film, Shintaro fell for modern Yurie almost immediately. And before you could say, duplicitous jerk, he was ghosting Toyomi way before cell phones were invented.

The best part of this film was that the women were portrayed as individuals. Toyomi was a traditional young woman who always wore a kimono. She was devoted to Shintaro and to her friend. Even with her devotion she could still see the writing on the wall with Shintaro. Her best friend, Michiko, who wore Western clothes and appeared more modern was fiercely loyal to Toyomi even as she readied for her own wedding. Yurie, was not the devil in disguise, even though she wore the most stylish of Western clothes, rode horses and spoke her mind. She might not have been head over heels in love with Shintaro, but she was willing to go along with her family when he didn't seem like he was unreasonable. Good luck, girl. As Toyomi and Michiko had discussed, "marriage is something of a gamble."

Shintaro was the weakest character. He used Toyomi and then on the turn of a dime he was in love with Yurie and willing to completely abandon Toyomi. He had loved her until someone better came along. His personality was bland and selfish. If he'd been honest with Toyomi, she might have been more understanding. The problem for her was that he tried to place the blame on his family, but unlike her he wasn't devastated which spoke volumes. To make things worse, she had a secret she was going to share with him until he enraged her with his false heart. Part one ended with the revelation of Toyomi's secret in a letter to Michiko.

Irie Takako gave traditional Toyomi a backbone and clear eyes. Takehisa Chieko made the other woman, Yurie, energetic and sympathetic. Aizome Yumeko as Michiko brought just the right amount of energy to the best friend's role. Takada Minoru was saddled with uninteresting, cowardly Shintaro and did nothing to elevate the character or performance.

I'm looking forward to the second part to see how this story plays out and how life turns out for the three women. My concern is that there may not be enough melodrama to fill two films and that Shintaro won't receive proper retribution for his disloyalty and poor treatment of Toyomi.

2/6/23

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Greased Lightning!

99 Cycling Swords is an almost average Taiwanese kung fu film from this era. I say almost average because the plot was particularly obscure even for a 1970's kung fu flick.

What this film doesn't give us is 99 of anything. What it does give is a plot that might give you a headache as it goes round and round and round as the main characters try to discover the real identity of the traitorous Chu Er Ming who has been killing off the Four Dragons. There are plenty of mistaken identities, subterfuge, cross-dressing, and double crosses.

Polly Shang-Kuan Ling-Feng ( I know, it's a mouthful of a name) once again cross-dresses to appear as a man while investigating this killer always dressed in white. She runs afoul of Yueh Hua because she always dresses in white, too, and he suspects her/him of being Chu Er Ming. Yueh Hua actually gives a relaxed performance in this role. He can often appear overly uptight. In a small supporting role, Lo Lieh appears as a disciple of her uncle who is looking for her in her female form. Hu Chin plays the comely barmaid who may or may not be colluding with the Big Bad.

The fights seem never-ending from the first scene to the last. Lung Tien Hsiang as the Man in White did a fine job of kicking while fighting, a standout in a rather drab fight choreography overall. The director overused the backward filming and trick filming. I've never seen so much dinnerware kung fu! There were some creative uses of weapons, but much of the fighting came across as kung fu posing. Polly seemed quite slow.

The ending which involved magnets, compasses, green lights, and supposedly 10 of the same bad guy was rather confusing but that may have had to do with the poor dubbing. Then again, maybe not. There were few highlights in this film. I still haven't acquired an appreciation for Polly's acting yet, she tends to ham it up. I'll keep trying as I work through her catalog of films. Lo Lieh, as always, brings a solid presence, even in a small role.

If you enjoy old Taiwanese kung fu films or are a fan of Polly's, this is one to try. If not, you'd be best skipping over it.

12/7/22

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"It all comes down to chance"

“The river flows on, it always has, it always will.” Director Mizoguchi sent his lovers down the river to the waiting waterfall at the end in this tragic tale. He comes across as an early feminist showing his independent heroine go through many trials all at the hands of men, her every compassionate deed coming back to haunt her. Yet she never gave up or gave in even when there was little left to lose. He seemed to want to shine a light on the fact that women had little say in their lives, they could be abused, sold, and even betrayed by the male judicial system as well.

Mizushima Tomo aka Taki No Shiraito performed a mesmerizing water show with a band of traveling entertainers. Known for her beauty she was also twenty-four-years old, an old maid at this time. Fate sent a carriage driver into her path. When a rickshaw passed the horse drawn carriage he drove on the road, the passengers in the carriage demanded he pass the rickshaw. In the process an axle was broken so he carried Tomo on his horse to the next town. She was instantly smitten but feared she’d never see him again. Once more fate intervened, and she found him sleeping on a bridge in the moonlight where she was walking one night. She learned his name was Murakoshi Kinaya. He’d been fired for driving the horses recklessly. His parents had died causing him to leave school in order to earn a living and now he was unemployed. Tomo told him she would help pay for him to finish law school so that he could become a great man. “As long as I breathe, I’ll remember my debt to you,” Kinaya promised.

Going into a Mizoguchi film I know better than to expect a happy ending and he did not fail that expectation. Tomo writes Kinaya letters inclosing cash for his tuition. Kinaya uses her dedication to spur on his studies and desire to succeed. During the winter, the show would have to close down and money became tight. Tomo always found a way to send Kinaya some money. Along the way, she helped two couples suffering at the hands of Minami the knife thrower and Iwabuchi the loan shark. Her generosity emptied her pockets and she had only one other means of earning the money for Kinaya to finish school and it led to the awaited tragedy. Let’s just say there is no leniency for a woman defending herself.

Kinaya and Tomo meet once again, both prepared to die. Tomo finds genuine joy in Kinaya’s success and is complete. Kinaya acknowledges he would still be a laborer if not for her sacrifices. And the water flows on, along with their short and ill-fated love.

The copy I watched of this film was very badly damaged. This was a silent film per se, but also had music and a benshi narration. I found the voiceover to be distracting and ended up muting it to focus on the performances. Even with the fading and scratches, Tomo’s water show was magnificent and a bit of a mystery as well. Irie Takako was beautiful and gave a moving performance as the compassionate woman who just wanted to be loved. Whether showing Tomo performing her water tricks, falling in love, helping those who needed it, or fighting for her life, Irie made Tomo believable and a worthy, if flawed, heroine.

Mizoguchi wasted no chance to show that it was the men in the story who created the problems for Tomo from the knife thrower to the judges. There’s an old saying, “No good deed goes unpunished,” and for Tomo this was true. Despite all she suffered for the ones she loved, she remained resolute to the end, cleansed as if from flowing water, until all that was left was joy and satisfaction.


11/21/22

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A Violet by any other name would still be as fierce!

Scorching Sun, Fierce Wind, Wild Fire boasted an all-star kung fu cast---Angela Mao, Chang Yi, Lo Lieh, Dorian “Flash Legs” Tan, and Roc Tien Peng. Despite a huge cast, most of them familiar Taiwanese film fighters, this made in Taiwan flick fell apart due to haphazard writing. Only an unlikely bromance saved this movie.

You would never know this was set during the Chinese Republican Era by looking at it. The costumes for the most part could have been from almost any era used in kung fu movies. Guns were introduced at one point by government officials which brought it into the Republican era. A possibly 1960’s car in one scene took the audience too far forward in time!

This should have featured Angela Mao since she was Violet, the mysterious rebel leader always dressed in….violet…and with her face covered. Sadly, she was only able to shine in the final grand fights. Roc as a rebel leader from the south was rather lackluster in his scenes. Chang Yi is always a good baddie and he didn’t disappoint as Wu Chi, the traitorous head henchman for the local warlord. The best part of the movie for me, were Lo Lieh and Dorian Tan as two escaped prisoners. They formed a reluctant bromance that was both humorous and the most sincere relationship on the screen. I truly enjoyed their interactions and fights. Fights against each other and fights against the baddies.

The story revolved around the rebels and a missing treasure map. Roc had half of the map and the warlord had the other half. 100,000 bars of gold were the prize for whoever could gain both pieces. Honestly, that flimsy story was the excuse for people to fight from beginning to end. Some fights were better than others. Chang Yi was featured in a great many of them. Aside from a fight with Lo Lieh and Dorian against some bandits and officials only the final 20 minutes of fights were worthwhile. Dorian’s legs did most of the heavy lifting, kicking in the fights. Angela finally had some face time on screen during the final fights showing her fierceness. I should mention that the nefarious Wu had a poisoned knife that melted people-quite gruesome.

I have to mention that some of the music sounded like it was lifted from the original Star Wars movie. You never know what you will hear in an old kung fu film!

If you like the cast and Taiwanese kung fu films from the late ‘70s this is one to try out. Don’t expect to see too much of Angela, lower your expectations, and hi-yah!


11/18/22

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