At this year’s Anime Expo, Funimation will be screening Kingdom and Tokyo Ghoul S, two Live-action Japanese films based on the popular manga by Yasuhisa Hara and Sui Ishida, respectively.
From director Shinsuke Sato (Gantz) comes Kingdom, which follows a young boy (Kento Yamazaki, Death Note) who dreams of becoming the greatest general of the Qin Kingdom.
Directing duo Takuya Kawasaki and Kazuhiko Hiramaki present Tokyo Ghoul S, the sequel to Tokyo Ghoul, which follows the further adventures of the ghoul-human hybrid, played by Masataka Kubota (Rurouni Kenshin).
Of course, you can expect to see Funimation release both of these films on Blu-ray/DVD at a later date. Visit Anime Expo for more details, which takes place on July 4-7, 2019 (plus Pre-Show Night on July 3) in Los Angeles (via ANN).
These days the vast majority of the movies that Hollywood makes are either franchise sequels and reboots or remakes of successful films from other countries. This has the advantage of giving people more adventures starring characters they know and love, but it can also be creatively stifling and lead to diminishing returns. Some of the remakes are of original Asian movies and we decided to look at a few of the best – as well as some we would all be better forgetting.
The Magnificent Seven
This 1960 movie demonstrated the perfect way of adapting Asian films for a US audience. It is the 1954 Kurusawa classic The Seven Samurai moved to an American western setting. There are clear parallels to be drawn between the Samurai in the culture of Japan and the cowboy in US culture, so nothing about this reimagining says ‘forced’. For that reason and the superb acting from stars like Yul Brynner and Steve McQueen it is almost as fondly regarded by US audiences as the original is with Japanese film fans.
Godzilla
If the Magnificent Seven showed how to get Asian movie adaptations right, then the various remakes of the 1954 Japanese movie Godzilla demonstrated how to make a complete mess of them. Firstly Hollywood took the Japanese film called Return of Godzilla and hacked it to pieces to create Godzilla 1985, ruining the story, then it went on to make two duff remakes of the original in 1998 and 2014. By the time of the last one, Hollywood’s fixation with sequels was in full force, and thus inevitably we were forced to endure a follow up!
The Departed
Martin Scorsese looked to Asia for inspiration in 2006, adapting a 2002 movie called Infernal Affairs by Andrew Lau. The plot of two undercover agents trying to identify one another and stay alive remained the same, but Scorsese moved the action from Asia to Boston. He kept all of the violent action and themes of each of these two moles being mirror images of the other, but also managed to draw a performance from Jack Nicholson as Frank Costello that was even more memorable than that of Eric Tsang in the first film.
Oldboy
The 2003 original by Park Chan-Wook is considered a classic by fans of horror movies, whereas the 2013 remake by Spike Lee is considered a horror by fans of classic movies. The almost total lack of subtlety in Lee’s version is amazing for such a gifted director, but he removed most of the psychological horror from its tale of a man seeking revenge for 20 years in solitary confinement and relied on heavy doses violence and gore. That made for a clumsy and unnecessary remake.
Hollywood has shown that it can adapt Asian films in a way that keeps the best elements and sometimes even adds intriguing new ones. Unfortunately, at other times, the adaptations have been driven by laziness and money.
The film stars Eddy Ko (The Mission), Lam Ching-Ying (Eastern Condors), Ma Ying-Chun (Goodbye Mammie), Cecile Le Bailly and Philllip Loffredo.
In Heroes Shed No Tears, the Thai government hires a group of Chinese mercenaries to capture a powerful drug lord from the Golden Triangle. The mercenaries manage to capture the drug lord, but soon find themselves pursued by his forces, and the forces of a bitter Thai officer. The Chinese mercenaries are vastly outnumbered, and as their numbers begin to dwindle, their desperation pulls them into a corner as their enemies close in on them.
Special Features:
New 2K Remaster
Interview with star Eddy Ko
New essay by author, film programmer, and Asian film expert Grady Hendrix
“A Record of Sweet Murder” Japanese Theatrical Poster
Director: Koji Shiraishi Writer: Koji Shiraishi Cast: Kim Kkobbi, Yeon Je-Wook, Ryotaro Yonemura, Tsukasa Aoi, Yeo Min-Jung, Koji Shiraishi Running Time: 86 min.
By Paul Bramhall
Japanese director Koji Shiraishi had, for a long time, carved out a niche for himself as the guy who makes grimy found-footage/docu-horror flicks. The likes of 2005’s Noroi: The Curse, 2009’s Occult, and 2011’s Cho Akunin, all feature some kind of first person perspective revolving around the supernatural or unpleasant endeavours. He’s also ventured outside of the format, with the likes of 2007’s The Slit Mouthed Woman and 2009’s Grotesque (which remains banned in the UK), and perhaps none more so than with 2016’s Sadako vs. Kayako, which saw his first foray into mainstream horror filmmaking. Adapting what originally started out as an April Fool’s joke, the concept of pitting the vengeful spirits from the Ring and Ju-On franchises proved too much of a temptation to resist, and Shiraishi has yet to return to his low budget horror roots since.
However before he entered the mainstream fray, his last movie before making Sadako vs. Kayako remained firmly in the found footage genre, with A Record of Sweet Murder. Made in 2014, the production is a unique entry in Shiraishi’s filmography, as it takes the form of a co-production with Korea. Co-productions between Japan and Korea tend to be as rare as hen’s teeth (does anyone remember Seoul?), mainly due to tensions between the 2 countries, so to see a collaboration such as this one is almost enough to warrant a viewing in and of itself.
The Korean investment sees A Record of Sweet Murder set in a downtrodden suburb of Seoul, with its 2 leads also cast as Koreans. Indie actress Kim Kkobbi, who first came on the radar with her outstanding performance alongside Yang Ik-june in his semi-autobiographical Breathless in 2008, here plays a journalist who’s been contacted by a childhood friend. One who just so happens to have escaped from a mental institution and killed 18 people. The childhood friend is played by Yeon Je-wook (The Witness), and his reaching out to Kkobbi comes with a strange condition – he wants to give her an exclusive, and requests she come to the fifth floor of an abandoned apartment block with a Japanese cameraman, and promise that no matter what happens they won’t stop filming.
Kkobbi duly obliges, despite having many questions (one of them being why the cameraman specifically needs to be Japanese), and the pair are soon met by a slightly manic Je-wook outside the apartment, wielding a knife and threatening to kill them if they dare stop filming at any point. It’s soon revealed through a confession that he’s actually killed 25, and that the voice of God he’s been hearing in his head requires him to kill 27. After murdering all 27 victims, he believes that both him and Kkobbi’s childhood friend who was killed in a hit and run many years ago, will be undone. However for his last 2 victims, Je-wook reveals that God has given him specific instructions that they need to be Japanese, and show “the power of love”.
It’s an intriguing premise, and one which comes with an even more intriguing execution. When A Memory of Sweet Murder opens we’re already seeing things from the perspective of the Japanese cameraman who, in a stroke of ingenuity, is played by Shiraishi himself. This results in the director occasionally appearing on camera in a rare acting (if you could call it that) role, however the boldest move that A Memory of Sweet Murder has up its sleeve, is that for 80 of its 86 minute runtime, it plays out as one uninterrupted single take shot.
One can only imagine what kind of logistical challenge this must have presented (and how many takes it must have taken!), and understandably the majority of the runtime is limited to the main room of the abandoned apartment that Kkobbi, Je-wook, and Shiraishi find themselves in. There are only 4 other actors throughout the whole of the single take, 2 a pair of victims that Je-wook reveals he already captured, and we glimpse briefly in another room, and the other 2 a loved up Japanese couple who stumble across the trio on their way to the rooftop.
The couple are played by Ryotaro Yonemura and Tsukasa Aoi (also their characters names), and are A Memory of Sweet Murder’s biggest detriment. Yonemura, who’s had minor roles in the likes of Sono Sion’s The Land of Hope, hams up his characters Yakuza style machismo to the point that it comes across like a gurning contest. His brash character is able to turn the tables on Je-wook’s unstable psycho, however his overly pronounced rolling of every ‘r’, and wild eyed ranting, quickly begins to overstay its welcome. As for Aoi, when you cast an AV (Adult Video – for those wondering) actress in a movie, you know they’re only there for one reason. Aoi’s closest claim to mainstream fame is likely appearing as a sexed up version of Sailor Moon, in the Chapman To starring comedy Naked Ambition 2, from 2014 (she also featured in 2014’s God Tongue Kiss Pressure Game: The Movie, in her native Japan. Don’t ask.).
Je-wook’s sexual assault of a bound Aoi, played out while Yonemura excitedly watches on, claiming she’s always fantasised of such a scenario, adds little to the plot, nor does the subsequent sex scene between the pair, when Aoi reveals to Yonemura that the experience turned her on so much she needs to do it again. The confined environment that these scenes play out in leave Kkobbi awkwardly stood in the corner of the room, doing her best to maintain a constant expression of fear, while also feeling distinctly adrift in a movie which she’s actually the star of. What can’t be denied though, is that the brief excursion into kinky sex marks A Record of Sweet Murder as an unmistakably Japanese product, despite both the Korean setting and performers.
There’s no mistaking that Shiraishi’s last venture into the found footage genre is a low budget affair, which sometimes makes it feel like an endurance test, while other times you’re left marvelling at his technical prowess. The whole one take setup means that there’s occasional lags. From the moment the movie opens, and Kkobbi points out that the building in the distance is the one where Je-wook wants to meet, the whole walk up to the building (and then up five flights of stairs!) makes you appreciate the importance of editing. However when things begin to go pear shaped, and exchanges start to get violent and bloody, Shiraishi’s use of the camera to effectively convey impacts and contact within a very limited space can only be called admirable.
Indeed in many ways A Record of Sweet Murder is one of those unique entries into the world of cinema, that when you’re watching it you may not necessarily be enjoying that much, but as the credits roll you realise just how invested you were. As the music rolled over the end credits, it was only then that it struck me that there hadn’t been a single piece of music for the almost 90 minute duration, however I’d still been kept glued to the screen regardless. As undeniably rough around the edges as it is, there’s a talent at work which isn’t immediately apparent on the first watch, but a number of small nuanced touches between the yelling and depravity are there for the observant viewer.
In the closing minutes events take a decidedly unexpected turn. For all of the arduous and gruelling events that have transpired over the last 80 minutes, Shiraishi has a trick up his sleeve that’s both imaginative and cathartic. It’s a bold move, and a welcome one, as it acknowledges that as the audience we’ve also been experiencing first-hand the horrors that both Kkobbi and Shiraishi (in his cameraman guise) have had to endure for over an hour. Realising that we need some kind of payoff for getting as far as we have, as an audience we’re duly rewarded. I’ll be honest and say that, while many may see the ending coming from a mile away, I found myself satisfied with the outcome that it presented, and it immediately put a certain level of previously unseen context around everything we’ve just been through. Based on this, for those looking for something a little different, A Record of Sweet Murder may just fit the bill.
In the 1980s, a phenomenon now known as the “ninja craze” was born, thanks equally to 1980’s The Octagon and 1981’s Enter the Ninja.
At the time, this “ninja craze” made perfect sense. After all, ninjas seemed more menacing than Bruce Lee; their stealthy uniforms were stylish and slick when compared to a Karate Gi; they had an array of innovative weapons that were far more interesting than anything seen in the average kung fu film; and they made Chuck Norris appear non-threatening and out-of-style. To put it simply, the word “ninja” became a hip, household name.
Additionally, the ninjas became so popular that they graced the cover of just about every martial arts magazine ever made (at one point, a magazine simply called “Ninja” was published). Of course, all these magazines would run a full page, full color advertisement that looked like this.
The straight-to-video ones with the shiny, glittery VHS covers that dominated the “Martial Arts” section of video rental stores (the “Bruceploitaton” of ninja films, if you will). They usually starred Caucasian actors – including B-movie legend, Richard Harrison and Stuart Onslow-Smith (both pictured here) – in colorful ninja uniforms. The guys even wore tacky headbands that literally had the word “ninja” printed on them.
The illustrated box art on these ninja movies promised you big explosions, helicopter fights and cool looking motorcycles with rocket launchers; but when you finally pressed play, all that appeared on the screen were sloppy, low budget, cut-and-paste (and spliced) movies that were so ridiculous, you couldn’t help but watch. To fans of the martial arts genre, this string of ninja movies became known as the “Godrey Ho Ninja flicks” – or technically speaking – a production by Joseph Lai’s IFD Films, a company responsible for releasing hundreds of low budget Chinese films. When these films were imported to America, by way of Trans World Entertainment, a brief intro by Sho Kosugi was filmed to give these films some ninja-credibility.
If you’re familiar with IFD Films/”Godrey Ho Ninja flicks”, then you’ll enjoy the mini-documentary below, which features a rare, insightful interview with actor Stuart Onslow-Smith (Ninja Destroyer), who after Richard Harrison, is one of the most iconic figures seen in this odd chapter of the ninja film genre. Enjoy!
Crouching Tiger, Hidden Dragon is still one of the most successful martial arts films ever made, and lives long in the memory of fans of the genre. The Chinese picture was made on a US$17 million budget but went onto gross $213 million worldwide in 2000. The Ang Lee-directed action epic was also nominated for ten Academy Awards and won four. It was somewhat surprising that it took sixteen years for someone to make a sequel of the film that was adapted from Wang Dulu’s Crane-Iron series of novels.
In 2016, it was Netflix that decided to make a new instalment in the film series when the streaming service released Crouching Tiger, Hidden Dragon: Sword of Destiny directly to the platform. This was based on the book, Iron Knight, Silver Vase, which was the last in Wang’s saga. Despite having the same name as the original, the Netflix production was lacking the same quality. It only featured Michelle Yeoh from the first film and had a mainly new cast headed by Donnie Yen. Lee was replaced in the director’s chair by Yuen Woo-Ping, and Zhang Ziyi said that she would only appear in a sequel if it was alongside the renowned Taiwanese filmmaker.
If Netflix decides to follow up on the Sword of Destiny with another instalment in the series, there is potential to make films based on Wang’s earlier novels. These could act as prequels to the two existing pictures. It does seem as though there is a gap in the market for more martial arts content on Netflix. The genre is highly popular in other aspects of western culture, especially games. Netbet is home to a number of ninja-themed slots, and when players play on the Japanese online casino they are faced with options like Golden Tiger and Dragon Chase Rapid. These themes have also been prevalent in the mobile gaming industry, with titles like Fruit Ninja and Ninja Jump both hugely popular.
The stumbling block for Netflix would be the fact that Sword of Destiny wasn’t well received. If the service was to revisit the franchise, there would almost certainly have to be an overhaul in the writing, directing, and acting departments. Viewers are hungry for martial arts content, but they don’t want it to be substandard. Sword of Destiny only has a score of 19 percent on Rotten Tomatoes, while the original is rated at 97 percent. Perhaps if Netflix was able to coax Lee back for a third film then some of the original cast members including Chow Yun-fat would be interested in reprising their roles.
Ever since Netflix ventured into making its own films, the titles have been a bit hit or miss. There has been the odd gem, such as Alex Garland’s Annihilation. However, Sword of Destiny would be included in the massive pile of misses. Netflix should attempt to redeem itself by releasing another Crouching Tiger, Hidden Dragon film. This time, though, it should stay true to the original and include some of the people that made it so successful.
AFS describes this Xu Jie and Ma Zhong Xuan-directed film as a “wartime thriller”. Unfortunately, further details are still pending.
For now, Zhao has his hands full with a number of upcoming projects, including the anticipated Fearless series. And Zhang fans have the long-awaited Assassins and the Missing Goldto look forward to.
We’ll keep you updated on this project as we learn more.
MMAC reports that Uwais will play a man who must fight through the gangland of New York to save his family after the disappearance of his son during a gang killings spree.
In addition to starring, Uwais will produce alongside Gianni Nunnari (300, From Dust ’til Dawn) and Ricky Siahaan off a script by Yalun Tu, writer of the upcoming Wu Assassins (also starring Uwais).
A director for Chinatown Express is still pending. Stay tuned!
Today’s Deal on Fire is the Blu-ray for 1967’s Massacre Gun(read our review). Jo Shishido (Branded to Kill) stars in this violent yakuza flick from Seijun Suzuki’s (Tokyo Drifer) former assistant, Yasuharu Hasebe (Assault! Jack the Ripper).
Kuroda (Shishido) is a mob hitman who turns on his employers after being forced to execute his lover. He joins forces with Eiji (Tatsuya Fuji from In the Realm of the Senses) and Saburo (Jiro Okazaki from Stray Cat Rock: Sex Hunter). Together, the trio escalate their mob retaliation to all-out turf war!
We all go to the casino with the intention of bringing home the big buck, but the sad truth is that most of us have never experienced the thrill of taking the jackpot. What does it take to be a winner and how do we up our game?
The answer may be found on the silver screen. Long have movies enjoyed taking us to the casino and long have we sat enthralled by images of high stakes games and mind-boggling wins. It may be fiction, but some of these movies contain valuable tips that shouldn’t be dismissed. Let’s take a look at some true Hollywood-style casino show-downs.
Rain Man
Rain Man taught us that card counting is a sure-fire way to win big at the blackjack table. Unfortunately, you have to have an incredible memory and lightening quick processing abilities, which means card counting is not for everyone. It’s also heavily frowned upon and if you get caught you’re likely to get thrown out on your ear. It’s not illegal though.
21
21 took card counting to the extreme and taught us that it’s better to work as a team than work alone. The difference between this film and Rain Man is that 21 is based on a real story. A group of MIT students won millions in Vegas using complicated card counting methods. They got busted in the end, but they proved that teamwork goes a long way.
Rounders
This film centres on Matt Damon’s character and his ability to bluff his way to the win. The game is Texas Hold’em and the stakes are sky-high. Watch this movie and learn a few tips on how to perfect your poker face and how to ride out your bluff to the bitter end. It takes guts to go for a win with a dud hand but if you can mask your emotions and control your tells, you could take home all the glory.
Casino Royale
No list of casino movie moments would be complete without the inclusion of the debonair and daring Mr Bond. Daniel Craig sits down to play Texas Hold’em in the 2006 version, but the original game was baccarat. Baccarat attracts high rollers and risk takers. What we learn from James Bond and his opponents is that unless you’re willing to go all in you shouldn’t be at the table. Learn how to stay cool under pressure and learn how to spot your opponent’s weakness.
Lucky You
Lucky You might be the least familiar name on this list, but it probably has the most important lesson to teach us. In this film, father and son face off against each other in the World Series of Poker. Huch Cheever has to put his bitter feelings aside in order to keep his cool and win the game.
The lesson here is that playing casino games requires a level head. If you’re angry, sad, tired or bitter, or if your senses are dulled by too much drink or lack of sleep, then it’s time to take a break. Step away and come back to fight another day – unless, of course, you can do some kind of Jedi mind trick and master your thoughts and emotions.
Do yourself a favour and have a casino-flavoured movie marathon! You could learn plenty of lessons from those intrepid gamblers that went all in, not least of which is when to walk away! There does seem to be one link that unites all of these movie moments – the bankroll. You need a pretty heft bankroll if you’re going to take on the big guns.
Your best bet is to start off making small bets on low limit tables until you build up the confidence and skill to go bigger. And if all else fails, hit the online Canadian lotteries – these guys will help you get started: https://casinopilot.ca/games/lottery – and pray for a win that will get you a seat at any casino table that takes your fancy.
Tony Jaa (Master Z: The Ip Man Legacy) is on board for Silent, an upcoming action film that sees the martial arts legend play a reclusive, mute Thai restaurant delivery man with a violent and tragic past who gets mixed up with a group of mercenaries and dirty cops.
According to an exclusive story from FCS, Mike Selby (Skin Trade, Paradox, Triple Threat) will produce for SC Films Thailand with Jeremy Bolt (Resident Evil franchise) for Impact Pictures; Impact is also credited with producing Jaa’s upcoming video game adaptation, Monster Hunter, with Milla Jovovich also starring. Starlight Media Group is fully financing.
We’ll update you on Silent as we learn more. Stay tuned.
Nikkatsu Diamond Guys: Vol 1 | Blu-ray (Arrow Video)
Today’s Deal on Fire is the Blu-ray collection for Nikkatsu Diamond Guys: Vol 1, which includes 1958’s Voice Without a Shadow, directed by Seijun Suzuki (Tokyo Drifter); 1958’s Red Pier, directed by (Tora! Tora! Tora!); and 1959’s The Rambling Guitarist, directed by Buichi Saito (Lone Wolf and Cub: Baby Cart in Peril) – all in this 3-disc Blu-ray collection!
Read on for the full details:
Nikkatsu, the oldest film studio in Japan, inaugurated a star system in the late 1950s, finding talent and contracting to their Diamond Line for a series of wild genre pictures. This collection celebrates these “Diamond Guys” with three classic films from directors Seijun Suzuki (Branded to Kill), Toshio Masuda (Rusty Knife) and Buichi Saito (Lone Wolf and Cub: Baby Cart in Peril).
An old hand at tough guy action roles, Hideaki Nitani (Massacre Gun) stars in Suzuki’s Voice Without a Shadow. Asako, a former telephone operator once heard the voice of a murder suspect which has continued to haunt her. Years later her husband invites his boss, Hamazaki, over for dinner and she realises his voice is suspiciously like that of the killer. Before she can investigate further, Hamazaki is found dead and her husband becomes the prime suspect…
Next, 50s subculture icon Yujiro Ishihara (Crazed Fruit) stars in Masuda’s Red Pier as “Jiro the Lefty”, a killer with a natural talent. Shortly after arriving in Kobe, he witnesses a man die in a crane accident which turns out to be a cover-up for a murder. Jiro soon finds himself on the run, tailed by a determined cop…
Finally, in Saito’s The Rambling Guitarist, mega star Akira Koabyashi (Battles Without Honour and Humanity) stars as wandering street musician Shinji, who falls in with mob boss Akitsu after saving one of his henchmen in a bar fight. Tasked by Akitsu with evicting an offshore fishery, Shinji finds himself in the middle of a very unusual domestic dispute…
Presented on Blu-ray and DVD for the first time in the West, these thrilling genre films feature Nikkatsu’s leading talent at their best.
In 2009’s Ninja, a westerner named Casey (Adkins), studying Ninjutsu in Japan, is asked by the Sensei to return to New York to protect the legendary Yoroi Bitsu, an armored chest that contains the weapons of the last Koga Ninja. In 2013’s Ninja: Shadow of a Tear, Casey is out for revenge when a loved one is murdered!
On July 2nd, 2019 Lionsgate is releasing John Herzfeld’s Escape Plan: The Extractors, on Digital 4K Ultra HD, Blu-ray Combo Pack (plus DVD and Digital) and DVD.
From Emmy®-nominated writer-director John Herzfeld (1998, Outstanding Directing for a Miniseries or a Movie, Don King: Only in America) and co-writer Miles Chapman comes this epic third installment to Escape Plan.
Screen legend Sylvester Stallone kicks this explosive action tale into high gear. After security expert Ray Breslin (Stallone) is hired to rescue the kidnapped daughter of a Hong Kong tech mogul from a formidable Latvian prison, Breslin’s girlfriend (King) is also captured. Now he and his team must pull off a deadly rescue mission to confront their sadistic foe and save the hostages before time runs out.
The Escape Plan: The Extractors Digital 4K Ultra HD copy, Blu-ray, and DVD will include an audio commentary with director John Herzfeld, Sylvester Stallone, Devon Sawa, and Daniel Bernhardt as well as the featurette “The Making of Escape Plan: The Extractors,” which features never-before-seen cast and crew interviews that explain what it took to make this white-knuckle film.
The Escape Plan: The Extractors Blu-ray Combo Pack and DVD will be available for the price of $24.99 and $19.98, respectively.
Director: Oliver Siu Kuen Chan Writer: Oliver Siu Kuen Chan Cast: Anthony Wong, Crisel Consunji, Sam Lee Chan-Sam, Cecilia Yip Tung, Wong Ting-Him Running Time: 115 min.
By Martin Sandison
One of the all-time greatest actors in Hong Kong movie history, Anthony Wong (The Untold Story), has appeared in so many of the classics in his time, in so many different genres, he’s unclassifiable. In recent times, Wong has shown outspoken support for the Umbrella movement in Hong Kong, and has taken a stance against the Mainland Chinese Government’s growing control of Hong Kong society. This has resulted in him being put on a blacklist for making films in China, and with the vast majority of Hong Kong movies being fully or partially funded by China, work has dried up for him. Enter the growing Independent film scene, and like Eric Tsang and Shawn Yue in Mad World (2016) three years ago, Wong waved his payment and worked to an incredibly tight schedule to make the low key drama Still Human last year. A revelatory performance, one that saw him win the Hong Kong film award for best actor, and beautifully sympathetic direction from first time director Oliver Chan, as well as great support from newcomer Crisel Consunji make the film a must-watch for fans of Wong and the vital new style of Hong Kong cinema.
Cheong-Wing Leung (Wong) is a middle-aged man who is paralysed from the waist down after a construction site accident. Enter his new carer, Evelyn (Consunji), a Filipino immigrant who really needs the job. At first, Cheong-Wing is indignant and makes Evelyn’s life a misery, but as time goes on the two create a bond full of empathy, respect and support for each other. As they learn about each others lives and loves, a complex portrait of humanity is painted.
Mad World is a film I connect with on a personal level, as some of the experiences the characters go through in the film I can relate to. However, the film is so heavy and, as one friend put it, overly earnest, it’s not one I could watch again and again. Still Human, on the other hand, is so light, humorous and engaging in a sweet, natural way that I want to revisit it very soon. What impresses me so much about the upcoming directors like Chan and Wong Chun (director of Mad World) is that both films feel in the tradition of Hong Kong film-making – there is an innate Hong Kong-ness about them, but they avoid the pitfalls of older dramatic cues which put off many international viewers; namely saccharine, schmaltzy, cheesy aspects. Still Human has elements of the Hong Kong dramatic tradition in its style and approach, Chan said the classic Comrades: Almost a Love Story (1996) was an influence, but rises above them and has a playful feel in its performances and aesthetic that takes a left turn.
To say this is one of the best performances I’ve ever seen from Anthony Wong is not hyperbole; the awards and kudos he has received from all areas attest to this opinion. A world away from the excesses of Category 3 gems like Ebola Syndrome (1996) and cool gangster chic of films such as Exiled (2006), it’s one full of nuance, humour and humanity. Cheong-Wing seems a broken man in the opening scenes of the film, but regains his spirit as he sees the vitality and compassion of Evelyn. Consunji conveys this with great heart, and it’s no small feat that she manages to be a worthwhile screen partner for Wong, and also gives a voice to Filipino immigrants who live in Hong Kong.
The character arc of Cheong-Wing is one that lends itself to depth, and with a talent like Wong this is portrayed in quite beautifully. His rediscovery of life and companionship is communicated in a subtle and underlyingly powerful way, one that does not seem forced or pretentious, but real. When Evelyn lies to Cheong-Wing about selling a camera to provide for her family, he is understandably angry; but the empathetic side of him and the development of this as the film goes on means he cannot stay this way.
With the size of talent Chan managed to secure in Wong, this led to supporting parts by some other Hong Kong icons. Sam Lee (Wild City) plays Cheong-Wing’s old friend, and it’s great to see them together again onscreen, with my frame of reference being the brilliant Beast Cops. He plays up the amusing side of the film, like in one scene when the two have a porn marathon once Evelyn has left one day. Cecilia Yip (To Be Number One) also turns up. Onboard as producer is Fruit Chan (The Midnight After), whose career has had a resurgence of late with the upcoming Invincible Dragon and a film that has to be seen to be believed, the sexually extreme but comedic Three Husbands (2018).
There are some problems with the film’s presentation; sure you can give leeway for an ultra-low budget and tight production schedule, but there is a lacklustre visual sense at times. For my money, Mad World had a better style married with its substance. Scenes with other actors featured also fall a little flat, especially with the other Filipino characters that Evelyn befriends, despite adding to the dimensions of her character as an immigrant.
Still Human is a film that resonates hope; something in these critically uncertain times we all need. The new low key dramatic approach, with other movies such as the worthy recent offering The Crossing (2014) bolstering the genre, gives me hope for the future of Hong Kong film making. While we may bemoan the move away from what was once the vital action genre, with movies like these coming from new voices, it’s not all so bad.
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