Thursday, January 24, 2008

King Hu's - A Touch of Zen - By Stephen Teo

By Stephen Teo
119 pages
HKD 122

Come Drink with Me
, Dragon Gate Inn and A Touch of Zen directed by King Hu in the 1960’s are considered the touchstones of the modern wuxia film. The wuxia film had certainly been around for a very long time, but it was generally thought of as low brow entertainment. In fact, the Nationalist government in China during the early 1930’s had banned these types of films as being a bad influence on the populace (as an intriguing footnote, this forced some companies to move to Hong Kong to make these films – the eldest Shaw Brother being one of them). These three films from King Hu though dramatically changed that perception. The films were elegant, graceful, artistic, well acted, complex and most important to King Hu, drenched in Chinese culture and history. Wuxia was never the same again. If you watch the wuxia films of Tsui Hark and Chor Yuen, the influence of Hu’s films is readily apparent. Advances in technology and improved martial arts training and choreography allowed their films to be faster, sleeker and more gravity defying, but all the basics came from Hu.

That King Hu remade this genre is a surprise considering his background. Primarily because as he admitted he had no particular liking for martial arts films, but he was fascinated my Chinese history and this was an opportunity to bring it to the screen. Born in the Mainland, he left Beijing in 1949 to go to Hong Kong. He had artistic aspirations and was able to find work in the Mandarin film industry in Hong Kong that was thriving due to the large scale migration from China after the Revolution. He worked in various functions for different studios and landed up with the Shaw Brothers in 1958 as a scriptwriter and an occasional actor. He is a small rather odd looking fellow on the screen without much presence and certainly no one that you would suspect of later becoming a great director. In 1965 he directed his first film, Sons of the Good Earth, a story about fighting the Japanese during WWII. Shaw had noticed the success of the Japanese samurai film throughout Asia and wanted to follow suit with a Chinese sword fighting film. The result was King Hu’s Come Drink With Me in 1966. It was a large success and jumpstarted the ensuing avalanche of wuxia films in the Hong Kong film industry. It also forcefully established the character of the female swordfighter in the character of Golden Swallow played by Cheng Pei-pei. Strong female action characters were prominent in most of Hu’s films and were to be recurring characters in many Hong Kong action films.

Though the Shaws were to follow up on the success of Come Drink with Me with many wuxia films, King Hu was not going to be a part of that. During the shooting of the film, he and the Shaw’s were constantly in battle over expenses and the pace of filming and so they parted ways – with Hu moving to Taiwan to work with the Union Film Company. His first film for them was Dragon Gate Inn in 1967. It was a huge box office success all across Asia and allowed Hu to push for an even bigger film, A Touch of Zen. A Touch of Zen took nearly three years to complete and went far over budget – and practically drove the film company out of business. A town was constructed just for the film and then allowed to sit there for a lengthy period of time so that it would take on an aged look. So much film was shot that the movie had to be broken down and shown in theaters in two parts. It was a disaster at the box office. Yet it is critically considered a masterpiece and was invited to Cannes when being invited to Cannes meant something. This though didn’t occur until 1975, long after the film had left theaters and almost been forgotten.

In his fine book, A Touch of Zen, Stephen Teo covers this territory but leaves most of his pages for a critical examination of the themes and style of the film. This was a very ambitious film from more than a budgetary perspective – Hu had a lot he wanted to touch upon and along with a number of action sequences (some of them forced on him by distributors) he has various almost conflicting themes going on. Teo breaks them down to these:

A ghost story (the basis of the film comes from a short story by Pu Songling, famous for his supernatural tales).

Identity – characters are not what they initially seem.

Wuxia romance

Political allegory

Religious metaphysical fable

Sexual ambiguity – in the original story the main character has homosexual liaisons, but this is only hinted at in the film.

Along with watching the movie – available on DVD – this makes for a fascinating read and adds elements to what is already a great film on its own.

This book is part of a series about Hong Kong film published by Hong Kong University Press. The others in the series are:

Fruit Chan’s Durian Durian by Wendy Gan
John Woo’s A Better Tomorrow by Karen Fang
Stanley Kwan’s Center Stage by Mette Hjort
Wong Kar-wai’s Happy Together by Jeremy Tambling
Tsui Hark’s Zu Warriors From the Magic Mountain by Andrew Schroeder
Wong Kar-wai’s Ashes of Time by Wimal Dissanayake

I believe most of these are available on-line.

The background information above on Hu was also obtained from Teo’s article in the HKIFF book, Transcending the Times: King Hu and Eileen Chang.

Just as a personal note - sorry for being away from the blog for so long. I feel like an absent landlord. I wish I could say I was up to something constructive but in truth it was pure laziness and post holiday ennui. I did scan a load of picts that I picked up on my last trip to Hong Kong and will get those up in drips and drabs. I also finally - three years after purchasing it - figured out how to use my video to dvd recorder and am in the process of transferring a lot of old Hong Kong tapes to DVD. Many of these have yet to see the light on DVD and I will be watching and reviewing a number of them. For some reason, I can't watch tapes any more and so have been putting off seeing these till I transferred them. Kind of stupid really. Also on my watch list are some of the older Hong Kong films being released by Fortune Star of late. They did a pretty miserable job on them - often only on VCD - but at least I can finally see some films like Slaughter in San Francisco, Magic of Spell, The Tattooed Dragon, The Man Called Tiger and others. I am not sure why but I have little desire to see much that is new as of late - a bad thing since I am suppose to be helping program The New York Asian Film Festival!

Wednesday, January 02, 2008

Bollywood Top 10 List for 2007

Here is a Top 10 list, but not by me. I have to admit that I just didn't see enough current films this past year from any film industry to attempt a Top 10 list. This was partly due to being on the go so much and just not having the opportunity to see many films, but to a large extent it was also simple inertia and a lack of desire to see a lot of the new films coming out. Fortunately, others are still doing so and are willing to share their finds for the year. In particular, I wasn't able to see anything from Bollywood and so it is great having this list as a key to what to see. It was put together by Steve Barr and my thanks to him.

2007 wasn't the banner year 2006 was, but a number of good and interesting films were released. Of the well-received films, I did not see The Namesake, Loins of Punjab Presents, and Taare Zameen Par.

Interesting, but not in my top ten, are:

Sivaji -- Seen without subtitles. A huge film with South Indian superstar Rajnikanth, directed for the first time by Shankar, who is known for making lavish, CGI-enhanced entertainers. In between pauses for hero worship, Rajnikanth stars as a man returning to India to do good works who gets caught up in a fight against corruption.

Jhoom Barabar Jhoom -- A meet-cute love story with a twist, JBJ is a romantic comedy with in-jokes poking gentle fun at Bollywood conventions.

Black Friday -- A film about the 1993 Bombay terrorist bombings.

Chak de India -- Cliched sports story improved by having the leads be a bunch of young women from all over India who must bond together to form a team while overcoming various prejudices. Also stars Shahrukh Khan as their disgraced coach.

No Smoking -- A movie which moves between the real and unreal (like Mulholland Dr. or Brain Dead) ostensibly about a man fighting against an extreme anti-smoking organization (inspired by Quitters, Inc but very different).

Manorama Six Feet Under -- Reworking of Chinatown set in a dusty Indian town. Interesting, but suffers from a slow pace.

Top 10

10. Cheeni Kum -- Light romantic comedy about a cranky 64-yo chef (Amitabh Bachchan) falling for a 37-yo woman (Tabu). Works well, and could have come from any country. Unfortunately the movie falls apart at the end with heavy farce and melodrama out of keeping with the rest of the film.

9. Laaga Chunari Mein Daag -- A woman (Rani Mukherjee) moves to the big city to support her family and finds she's only able to get work in the oldest profession. Meanwhile, her sister (Konkona Sen Sharma) gets an office job in the same city. Not as depressing as it sounds, with nice performances throughout.

8. Bhool Bhulaiyaa -- Horror/comedy with some horror and comedy which actually work. A couple move into a cursed mansion, complete with vengeful ghost. Has a standout ending worth seeing on the biggest screen you have.

7. Om Shanti Om -- For Shahrukh Khan fans. OSO starts off as an affectionate look at Indian filmmaking in the 1970's, with in-jokes flying thick and fast. Post-interval, the reincarnation/revenge plot kicks in and the film becomes more serious.

6. Khoya Khoya Chand -- Set in a lovingly recreated 1950-60's Hindi film industry, a young actress struggles with a range of role, loves, and compromises. While the story and some of the acting isn't the best, the film is still a treat for fans of older Hindi films.

5. Life in a Metro -- A film intertwining several stories of urban love. Not a very realistic film, it does have several good performances, pretty people, etc.

4. Johnny Gadaar -- An excellent neonoir about a doublecross gone horribly wrong. The movie plays with audience expectations a few times and never puts a foot wrong.

3. Traffic Signal -- Perhaps not a great movie, this tale of all the scams and interests around a single intersection in India features an interesting subject and some great performances.

2. Honeymoon Travels -- Supposedly only in India do couples go on honeymoons together. This is the extremely funny and entertaining story of several couples taking a bus tour on their honeymoon.

1. Salaam-e-Ishq -- This movie encapsulates why I watch Bollywood films. Like many films this year, it features an ensemble cast and intertwined stories about love. But it manages to do so in a larger-than-life manner, with great drama, humor, musical numbers and a wonderful soundtrack. The somewhat disappointing story about adultery can be fast-forwarded.