Thursday, October 24, 2013

A Good Song Never Dies

This was a big hit in the States fifty years ago. Its connection to Hong Kong movies is of course known only to a special few! I heard it the other day and remembered how much I like it.


Sunday, October 20, 2013

The Twins and the Sox

Phew. I have been preoccupied of late with the miraculous play of the Boston Red Sox. Last night they won the American League pennant. This was a team that at the beginning of the season was chosen by nearly everyone to come in dead last in their division and somehow these bearded wonders have banded together for an awe inspiring mind blowing drive. Next is the World Series.

I became a Red Sox fan way back in the distant past; 1967 to be precise. My family had been stationed in Turkey for three years and we were next going on to Afghanistan, but for the summer we had home leave and spent it in the Boston area where both sides of my grandparents lived - my grandmother in Worcester and my grandfather and grandmother in Belmont outside of Boston. In truth, I had never gotten along all that well with my grandfather. He was not a kind man; bigoted, miserly and churlish and he seemed to view me as an unnecessary inconvenience that was best ignored and I did all I could to stay quiet and as invisible as possible around him. It was like staying with Silas Marner. But that summer as the Red Sox battled it out for the pennant with three other teams in a race that wasn't decided until the final weekend, we would all sit out on the back yard porch in the evening and watch the fireflies leisurely and magically light the darkness in their own Morse code and listen to the Sox on the radio and hold our collective breath as Yastrzemski, George Scott and Tony Conigliaro came to the plate. That summer was the only time I ever felt close to my grandfather. That didn't hold but my affection for the Boston Red Sox did and I expect always will. We had to leave before the World Series got underway against the St. Louis Cardinals who they play again this year, but far off in Kabul I waited anxiously for the weekly deliveries of the Herald Tribune to find out who won. The Cardinals. In seven games.

As a celebration of more innocent times, here are some pictures of The Twins.


Wednesday, October 09, 2013

Electric Shadows: The Secret History of Kung Fu Movies

Electric Shadows: The Secret History of Kung Fu Movies Vol. 1
By Jean Lukitsh

Most of you have probably already downloaded and read this very informative book since we were all alerted to it by Durian Dave back in August on his invaluable blog Soft Film. I finally got around to reading it this past weekend and very much enjoyed and appreciated it. The early years of martial arts movies may not exactly be a secret (at least not anymore) but there certainly has been very little written about them in English that I at least know of and so this helps fill a big hole in my knowledge. Of course seeing these films is another issue, but even there the book is helpful as it has links to some videos on Youtube.  A lot of credit has to be given to the writer (who has been writing for for years now) who has tracked down all this information. The focus of the book is on the formative years of this genre in the 1920's and 1930' though she also takes the reader up to the Shaw Brothers.

What also should be of interest to those who want to find out more about the olden days of Hong Kong film is that four more volumes are planned that also focus on martial arts films.

Now if you don't have a reading device there is no need to worry. Amazon allows anyone with a computer (and I expect most of you have one) to download the Kindle software to your computer for free and read anything you download on it. For the price of $3 how can you really go wrong and hopefully if there is enough interest in this first volume the others will follow.

Friday, October 04, 2013

Part 1 - Fifty Essential Hong Kong Films to View

Note that I don’t say THE 50 Essential Hong Kong films in the title. I don’t have that sort of hubris. Not yet anyway. For one thing I haven’t seen thousands of Hong Kong films and secondly these things are to a large degree a matter of personal taste as well as ever changing social fashions. For example, in Hollywood this year the Hitchcock film Vertigo was recognized as the best American film ever made even though for years after it was released it was practically ignored by critics. The same could certainly happen for Hong Kong films. Who knows, perhaps someday Para Para Sakura will manage to make its way on to best of lists. I tend to doubt it but times change as do opinions. So this list is simply what my response would be right now if someone who knew nothing about Hong Kong films came to me and asked me for a list of films that I thought best represented Hong Kong cinema.

I would have to explain to them that I know next to nothing about Hong Kong films before 1960 and only a smattering before 1980. So the majority of my list falls on the north side of 1979 and is dominated as you will see by a few specific people in the film industry. Clearly there were thousands of films that led up to the films that I include but many of these movies have been lost and very few have made it to DVD with English subtitles. I would guess that a native Hong Kong critic would come up with a very different list; probably with some of the Cantonese films of the 1960’s or one of the Wong Fei-hung films in the series or an historically important film such as the House of 72 Tenants or Red Lotus Temple from 1928 which is considered the first epic martial arts film and almost certainly they would include more of the New Wave films of the late 1970’s and early 80’s than I do. My list is more personal than that. These are to a large degree the films that sucked me into Hong Kong films like a vortex and never let me go, but they are also I think important movies in the history of the film industry. Clearly many will disagree with much of the list but that is the nature of lists and likes. At the same time, I don’t think many of these films will surprise anyone.

In chronological order:

Mambo Girl, 1957 Director: Evan Yang

From the 1950’s till the mid-1960’s Cathay Studio was the Shaw Brother’s major competitor in the Mandarin language film market. But their appeal was very different from what the Shaw Brothers were trying to do. Their films were directed towards the burgeoning middle class and their stories in general were very family oriented. With Mambo Girl, Cathay produced a near perfect confection of comedy, sorrow and razzle-dazzle musical numbers from the opening matching floor and pants ensemble number till the joyously emotional seven minute musical finale. Oh, those crazy wild kids of yesteryear! The film also made a star of Grace Chang whose wide toothy smile, twinkly eyes and incredible voice was to captivate the city for years to come. Mambo Girl is like slipping comfortably into a warm vat of your favorite pudding knowing that everything in the world was going to be ok no matter your problems.

Most of the Opening Musical Number:

The Wild Wild Rose, 1960, Director: Wong Tin-lam

After Mambo Girl, Grace Chang appeared in a few other feel good musicals such as Our Dream Car, Spring Song and the marvelously techni-colored South East Asian travelogue Air Hostess. But none of these prepared audiences for her tragic heart rendering performance in The Wild Wild Rose as a nightclub chanteuse. It was a riff both musically and narratively of Bizet’s Carmen and it is dark, painful and glorious. It is a true tour de force from Grace that in some way took Hong Kong film to a more mature level.

Grace in a smoky nightclub number

Sun, Moon and Stars Part 1 and II, 1962, Director: Evan Yang

This two-part film from Cathay was in its way The Gone with the Wind of its time in Hong Kong. For Cathay who primarily produced small intimate films, this was a huge undertaking but it paid off with its huge popularity. This was an attempt by Cathay to respond to the pressure being put on them by the Shaw Brothers who were beginning to release grand epic all-color films such as The Kingdom and the Beauty (1959). Set against the background of the Sino-Japanese conflict, this took over a year to make and was released in two parts (totaling nearly 3.5 hours of running time). Though it is a two-parter, it is very much the same film simply split in half at a crucial moment (the outbreak of war) and is best seen back to back to capture the gathering emotional impact. With its trenchant drama, tragic trajectory and star-studded charismatic cast, it is difficult not to be pulled emotionally into this film.  Even with its grander scale and being set in turbulent times, the film still retains its sense of intimacy and in the end it is primarily a story of unresolved passions and the ill-fated romances of three women who seek to find their way in this emerging new world. The three women were played by huge stars at the time (Grace Chang, Julie Yeh Feng and Lucilla You Min).
Grace Chang singing for the troops:

The Love Eterne, 1962, Director: Li Han-hsiang

I am certainly no hardcore fan of Chinese opera (Huangmei) and this genre of film can admittedly be hard to take for most Western Hong Kong film fans.  But The Love Eterne has been such an incredibly loved film for over five decades that it bears watching and my guess is that you will be glad you did. And if not, just put it down as a growing experience! Starring two of Hong Kong’s great female stars from that period, Ivy Ling Po in the male role and Betty Lo Tih as her female lover, this film is beautifully designed by Li Han-hsiang who was sort of the Baz Luhrmann of his time though later he was to specialize in bawdy sex comedies. This is one of Hong Kong’s most enduring tragedies. Don’t fear it. Embrace it!

The trailer:


Come Drink with Me, 1966, Director: King Hu

In some ways you could almost say it all began here. To fans who love the high flying fast moving wuxia films of the 1980’s and beyond this is the Rosetta Stone. King Hu, who had been a character actor in a number of Shaw Brothers films, had moved into directing with two previous films but there was nothing in his background to prepare anyone for this film. He fought constantly with the studio over this film, the budget and the time it was taking him to finish it but in the end he produced this stunningly beautiful film that changed the course of Hong Kong film. Wuxia films had of course been around for decades but King Hu brought such a sense of design, history, depth, story and intricate choreography that the wuxia felt brand new, felt epic and grand. He also had a budget that far surpassed the hundreds of wuxia films that came before. Cheng Pei-pei as the deadly swordswoman Golden Swallow became iconic for this role. Everything that followed in this genre to some degree was built on this amazing film.

Hong Kong Nocturne, 1967, Director: Inoue Umetsugu

The Shaw Brothers had been making modern musicals for a few years at this point and though enjoyable, films like Les Belles felt old fashioned, stiff and rather staid. So they went to Japan to import director Inoue Umetsugu to make musicals in Hong Kong and add some splash, dash and color to them. He stayed for a few years and made a number of musicals but none was better than Hong Kong Nocturne.  It tells the tales of three sisters - all played by stars – whose lives get messy and go in different directions. It has some great tunes, well-staged musical numbers and great pathos. In fact, I would suggest that Hong Kong has never made a better musical.

The trailer:

One Armed Swordsman, 1967, Director: Chang Cheh

Ironically, the man who was to take violence to a whole new level in Hong Kong films had been an urbane scriptwriter for Cathay before heading to the Shaw Brothers to begin his onslaught on the senses of the Hong Kong audiences. Chang Cheh jumped on the wuxia bandwagon but had little interest in the elegance of King Hu. He wanted to show blood and guts and his filmmaking was brutally masculine and very basic. It was an enormous box office hit and his influence on Hong Kong film can be seen all the way up through the bullet ballets of John Woo twenty years later. Starring Jimmy Wang Yu who loses his arm in a fight and decides that revenge is even sweeter with only one limb.

The Chinese Boxer, 1970, Director: Jimmy Wang Yu

In his earlier films, Chang Cheh’s main vehicle of destruction was actor Jimmy Wang Yu, whose lack of acting chops and inability to emote has become legendary. He was nevertheless a huge star and felt the need to get away from Chang Cheh and make his own films. He was soon to leave Shaw Brothers and form his own production company but before doing so he directed this touchstone film of extreme violence and vengeance. It is also often credited with being the first strictly kung fu film of the modern era in a period of time when wuxia i.e. swordfighting films dominated the box office.  The popularity of the film needless to say led to thousands of other kung fu films that followed.


A Touch of Zen, 1971, Director: King Hu

With the direction of Hong Kong action quickly changing towards a much more violent nature, A Touch of Zen perhaps already felt a little dated at its release as the film had been three years in the making and Hu went way over budget and nearly drove the film company Union Film Company into bankruptcy. After Come Drink with Me, Hu had left Shaw Brothers to make another brilliant wuxia film, Dragon Gate Inn that had been an enormous success. But A Touch of Zen was not. It was a disaster at the box office but over time has rightfully come to be considered one of the great films from anywhere. Full of intriguing characters, a complex narrative, wonderfully staged action scenes and a layer of mysticism covering everything, it is as close to pure cinema as you can get.

A quick elegant scene from the film:

Fist of Fury, 1972, Director: Lo Wei

With only a few films Bruce Lee became perhaps the most famous actor from Hong Kong ever. He had of course been a child actor in Hong Kong in the 1950’s before departing to the United States where he honed his martial arts skills. He came back to Hong Kong in 1971 to make The Big Boss and his extraordinary intensity, speed and power quickly gained him a huge worldwide audience. After wooden boxes like Jimmy Wang Yu and other actors doing their best faux kung fu moves, Bruce was the real deal. He was to make only three more films before his death which only increased his legendary status. I suppose I could have picked The Big Boss since it was his first film after his return, but for me Fist of Fury is by far his best, a big leap forward from The Big Boss and some of the scenes of him defying the Japanese are burnt into the Chinese collective mind.


Intimate Confessions of a Chinese Courtesan, 1972, Director: Chor Yuen

In the early 1970’s Hong Kong films added another new element into their films that was already quite popular in other cinema’s around the world; nudity. Guidelines began to loosen up around nudity in film and the Shaw Brothers jumped right into this swirling broth with a number of seedy exploitation films. But Intimate Confessions stands out from much of the other gruel because it is a terrific and visually stunning period film that goes beyond the sex, lesbianism and torture to create a volatile mix of action, death and drama. The credit for this has to go to veteran director Chor Yuen who had been directing since the late 1950’s but really found his place with a series of brilliant wuxia films in the 1970’s.

The trailer:

The Private Eyes, 1976, Director: Michael Hui

This is simply one of the best and funniest comedies ever made in Hong Kong, but it is also an important film in that it accelerated the transition from Mandarin being the prime language in Hong Kong films to Cantonese. That may seem crazy today since the language of Hong Kong was basically Cantonese, but during the 1960’s the popularity of Cathay and the Shaw Brothers who made the vast majority of their films in Mandarin (for markets outside of Hong Kong) nearly destroyed the market for Cantonese films. Private Eyes was so popular that it began the death march for Mandarin within a very few years. But that aside, this is a very funny film that starred the Hui Brothers and has many moments that are truly classic. Hui’s comedies were quick-witted, irreverent and perfectly reflected the changes that Hong Kong was going through and the working class people who lived and strived there.

Music Video for Theme Song:

The Magic Blade, 1976, Director: Chor Yuen

Chor Yuen more than anyone kept the wuxia genre alive during the 1970’s with a number of fine films before he was to hand off the genre to a new generation in the 1980’s. Of his wuxia films, The Magic Blade is probably the best with its dazzling action choreography, its stuffed plot and the immense charisma of the leading man, Ti Lung, who had starred in so many of the  Shaw Brother’s martial arts films. Adapted from a Gu Long story, it has many of the basic elements of the jianghu novels and films with a wandering swordsman of a great heroic and chivalrous nature, but The Magic Blade mixes and mashes it all together as only a consummate professional like Chor Yuen could have done.

The Trailer:

Broken Oath, 1977, Director: Jeong Chang-hwa

Female action stars have long been a staple of the industry going as far back as to the 1920’s, but none captured the imagination of fans around the world as did Angela Mao. With training in Chinese Opera from the age of five until she was signed by Golden Harvest, Angela had an incredible kinetic whirlwind physical presence with an angry scowl to match.  With the fast moving fight scenes choreographed by the legendary Yuen Wo-ping, Broken Oath is easily the best film that Angela Mao starred in. It is basically a play on the Japanese film Lady Snowblood but instead of seeking revenge at the tip of a sharp sword, Angela Mao’s character batters them into submission and death with everything she has.

Angela in action:

The Five Venoms, 1978, Director: Chang Cheh

To Chang Cheh’s credit he was always reading the Hong Kong audience and when they looked like they were bored with a certain type of film, he came up with something new. In this case, he recruited five amazing martial artists who were not that well known into a team and starred them in a handful of films that have over time become worldwide cult extravaganzas. They had their different styles but they were all amazing acrobats and moved at something akin to the speed of light. The action is ferocious and mouth droppingly complex. This series of films took Hong Kong action to another level where you began to be in awe of what the human body was physically capable of. They were also enormous crazy fun and this one is probably the best as the five actors all take on the characteristics of poisonous animals – snake, centipede, scorpion, lizard and toad – and they are a riot to watch.


The Sword, 1980, Director: Patrick Tam

What has been termed the New Wave began emerging in Hong Kong cinema In the late 70’s with a group of young directors who had often been trained overseas or in television. Some of these directors were Tsui Hark, Ann Hui, Alex Cheung, Yim Ho and Patrick Tam. There isn’t any specific trait that you would say was New Wave, it was more an attitude of experimentation, realism and often dealing with social issues. They also took well-known genres such as the wuxia film and re-invented them; Tsui Hark with Butterfly Murders in 1979 and Patrick Tam with The Sword a year later. The Sword actually seems to look backwards rather than forwards. Almost as if the kung fu and ultra violent Chang Cheh sword-fighting films had not existed, The Sword immerses itself nostalgically in the mood and style of the classical wuxia films of the 60’s but with some modernistic stylish touches thrown in. It is meticulously shot with beautiful detail. In its way it washes away all the excesses of the current wuxia film to create as pure a rendering of this genre as has ever been made.

Encounter of the Spooky Kind, 1980, Director: Sammo Hung

Sammo was coming off his first years of directing and was already compiling a terrific list of kung fu films (Iron Fisted Monk, Warriors II, Enter the Fat Dragon, Knockabout and The Victim) when he had the brilliant idea of throwing the genres of kung fu, horror, comedy and the supernatural all into one big happy pot, stirring and bringing it to a hyper-satisfying boil. We also get a sneak preview of hopping vampires that were to later get much more exposure.  The film is enormously enjoyable with a constant barrage of something speeding by on the screen whether it is great displays of intricate kung fu or being chased by hopping vampires or coming under the spell of black magic or coming across ghosts or even having to battle the Monkey King.  There was nothing that Sammo was not willing to throw into the plot. His only aim was to entertain and this ground breaking film is like a big bouncy slobbering dog happy to see its owner come home.

Aces Go Places, 1982, Director: Eric Tsang

Aces Go Places spawned four sequels but very few equals in the annals of Hong Kong comedy. The studio Cinema City had formed in 1980 and their basic mission was to entertain and make you laugh. Aces does that in spades, but it is much more than a simple comedy. It is a snort of high octave fun. The film is incredibly high spirited – very silly at times – full of slapstick and pratfall humor, eye opening stunts, a wonderful tune from Sam Hui and excellent action sequences that would do Jackie Chan proud. It also had great chemistry between the three main actors, Sam Hui, Karl Maka and the ever understanding Sylvia Chang that made you want to take these characters back home with you.


Zu Warriors: Magic Mountain, 1983, Director: Tsui Hark

With Zu director Tsui Hark really began his twelve year run of masterpieces creating nearly every trend there was in Hong Kong film from the modern wuxia to the supernatural to hard boiled over the top action. Throw in a few great comedies as well. He did it all as either director or producer. I can’t think of any one person in any cinema who has been as influential as Tsui Hark was during this period. He began as part of the New Wave movement with three films but Zu was his calling card into the commercial world of wuxia film. It is an eye-popping film of imagination, searing color, nutty sets and high flying wire-work. He also took a beguiling actress from Taiwan who was primarily famous for dramatic weepies and began her iconic journey to stardom. That was Brigitte Lin of course. With Zu, wuxia was once again regenerated and was to become one of the dominant genres for the following decade.

The Trailer:

The Long Arm of the Law, 1984, Director: Johnny Mak

During this period Hong Kong film seemed so overrun with wuxia and kung fu films that this lean tense crime film felt like a breath of fresh air. This film is often cited as an influential forerunner of the Heroic Bloodshed films that were to become hugely popular only a few years later in the work of John Woo. Though this film certainly has elements of the Heroic Bloodshed genre – male bonding, loyalty and honor – it feels much more in the tradition of the gritty film noirs of the 1940s – in particular the work of Jules Dassin, Anthony Mann, Jean-Pierre Melville and Robert Siodmak. It has a cinematic style that is pared down to the essentials, fast paced and imbued with an unromanticized edge that has “dead end” written all over it. This film would have felt very much at home in glorious black and white. The film becomes increasingly involving and tense as it progresses and as the characters become distinct individuals the viewer is faced with an intriguing moral issue. Mak makes these characters very human and likable – and yet at the same time they are remorseless killers who murder anyone in their way – cops, civilians and crooks. Yet there is still a part of you that can’t help but be sympathetic for their plight and root for them to escape an ending that seems inevitable.

Shanghai Blues, 1984, Director: Tsui Hark

This film is about as good as it gets. Very funny at times with a huge dollop of sentimentality but primarily at the core of its big enormous heart is a celebration of film and of the human spirit. It is a ménage de comedy with Sylvia Chang, Sally Yeh and Kenny Bee in a screwball roundelay of mistaken identities, pratfalls, music, joy and heartbreak. Beginning under a bridge in the dark as the Japanese bomb Shanghai it ends with a frantic run for the train and for love. Everything in between is near perfect.  It is cinematic magic of the best kind. The human kind.

Snippet from the film. The Violin Bit.

Mr. Vampire, 1985, Director: Ricky Lau

This wasn’t the first hopping vampire film, but it was the one that led to a hopping vampire craze in Hong Kong and the beginning of a love affair with Lam Ching-ying who plays the stern but understanding Taoist priest. Lam Ching-ying had been in a ton of films since 1970 but often in roles that zipped by so quickly you barely noticed him, but some genius – probably Sammo Hung – gave him the role of his lifetime. He plays the role with so much charisma and agility that you had to wonder why it took him so long to become a star.  He fights off vampires, ghosts, demons and basic bad guys to the delight and amazement of the viewer. Just file this film in the Enormously Entertaining folder.


Police Story, 1985, Director: Jackie Chan

Hey, it’s Jackie Chan, probably the most famous Hong Kong actor in the world other than perhaps Bruce Lee.  His films from the early 1980’s to the present day have generally thrived on the same basic formula of astonishingly quick witted action, mind blowing stunts and goofy humor. He is almost his own genre and he deserves every bit of it. Of late lots of people knock him for sticking around too long, for selling out to Hollywood and then later to China and for aspects of his personal life, but sometimes you have to just sit back and watch one of his early films and be reminded just how much fun those films were. You could probably pick a few of his films for this list, I chose two, but I think Police Story is his best all-around film with action scenes that are simply dazzling; intricate choreography and death defying stunts that leave you shaking your head. And lest we forget, there is also the presence of Maggie Cheung and Brigitte Lin.

The Trailer:

Yes Madam, 1985, Director: Corey Yuen

After the traditional kung fu films of Angela Mao, Polly Shang-kwan and other female action stars came to a close in the early 1980’s there was a mini-drought in action female films, especially ones that took place in contemporary times. That came to an end with Yes Madam. The film company D&B had been formed in 1983 by the wealthy businessman Dickson Poon and Sammo Hung. A year later they signed Michelle Yeoh who hailed from Malaysia to do a watch commercial and then trained her in martial arts for the movies. Her first starring role was Yes Madam which established her as the major female Hong Kong action star of her time. In this film they team her up with another female action stalwart, Cynthia Rothrock, from the United States. Admittedly, big chunks of the film are dreadful when it focuses on three dimwitted thieves (Tsui Hark being one!) but whenever Michelle or Cynthia are in it, it is electrifying. The action choreography by Corey Yuen is as hard as nails and just as sharp. The last fifteen minutes of the film will take your breath away. Out of this template came the Girls with Guns genre with many wonderful female stars; Moon Lee, Yukari Oshima, Cynthia Khan and Michiko Nishiwaki to name a few. Most of the films were low budget but whenever they busted out in high voltage action it was like drugs to a junkie.


A Better Tomorrow, 1986, Director: John Woo

In the early 70’s as an assistant director John Woo had worked on a few films (Boxer from Shantung and The Blood Brothers) with Chang Cheh, whose themes of male bonding and heroic bloodshed very much influenced him. As a director Woo was to make a few period martial arts films but they never made much of an impact. Then he was forced to make a series of comedic films that again did not really go anywhere. By 1986 his career was at best iffy, but he still wanted to make a film about friendship, revenge and betrayal, but he wanted to update these old themes to the modern time. No one was really willing to invest in his idea until Tsui Hark as a producer put up the money and allowed Woo to make his film. And what a film it turned out to be. It wasn’t only redemption for Woo but also for the actor who took on the main role of a broken down former high flying gangster seeking revenge and honor. This was Chow Yun Fat who up until that time was generally known as a genial light comedian and romantic man. This film and its success put both men into the stratosphere of stardom. Bloody and violent yet at the same time sentimental and poignant, it took Hong Kong by storm and created a new cottage industry in similar films. Woo himself was to make a few more of these films, upping the ante each time and two more of his Heroic Bloodshed films as the genre became known as are on this list.

Part II is in the post below.

Part II - Fifty Essential Hong Kong Films to View

Millionaire's Express, 1986, Director: Sammo Hung

Sammo Hung was easily one of the most influential people in Hong Kong films during the 1980’s specializing primarily in kung fu action films. But he also broke ground in the supernatural with films like Encounters of the Spooky Kind and Mr. Vampire. Besides his collaborations with Jackie Chan and Yuen Biao, he also made some other films that are wonderful collaborative ensemble efforts. Sammo never minded sharing the spotlight. In 1983 he created one of the first great modern action comedies titled Winners and Sinners that had a number of sequels known as the Lucky Star films. But for action fans it was two films that he made, this one in 1986 and Eastern Condors in 1987, which set a new high for action films that had large casts of many of the best martial artists of the time and had nearly non-stop action and stunts. I could have picked either one of these films for the list, Eastern Condors is ferocious, a Hong Kong Dirty Dozen, while Millionaires Express is lighter hearted but with some of the best choreography and stunts that you will see and which allows so many different action stars to shine for a few wonderful minutes. Both are simply extravaganzas of action that will floor you.

Peking Opera Blues, 1986, Director: Tsui Hark

Rumor has it that Tsui Hark wanted A Better Tomorrow to star females rather than the masculine testosterone of Chow Yun Fat and the other male co-stars. This is borne out to some degree when Tsui helmed A Better Tomorrow III and had it star Anita Mui as the woman who teaches Chow Yun Fat how to handle a gun. But though Peking Opera Blues is far from a Heroic Bloodshed film, Tsui did use this idea by having three females band together to fight a cruel warlord in the early 20th century. More importantly, he had three female stars (Brigitte Lin, Sally Yeh and Cherie Chung) band together to make what many people consider the greatest Hong Kong film of all time. I would be one of those.  It’s difficult though to explain why this is the case. It is not a particularly sophisticated film. It is not really a deep or thought provoking film. It is just a complete and utter perfect film, a thrill ride, a dozen episodes of an old fashioned serial condensed to ninety-minutes of adrenaline. Tsui throws everything at us from escapades across roof tops, Chinese Opera shenanigans, bedroom farce and gruesome torture but above all it is about friendship found and kept.  This film flies and floats across the screen with complete abandon and with utter confidence that it will not fall. And if it did one of the three women would be there to catch it. After seeing this film you basically just want to hug yourself and your neighbors in delight and joy.


A Chinese Ghost Story, 1987, Director:  Ching Siu-tung

The non-stop mind of Tsui Hark triumphs again as he takes one more genre and makes it his own. This film produced by Tsui Hark and directed by Ching Siu-tung is a masterful and magical ode to romantic love; a movie full of visual poetry, stunning imagery and wondrous story telling. It is a movie that was often imitated but never emulated afterwards in Hong Kong and though some had more spectacular special effects, none had as much heart as this film. The film rushes by in dream like hypnotic fashion – and when it ends one can only wonder how so much was fit into a ninety-minute film. In many ways, this film personifies the very best in Hong Kong film. It is a film that will touch all your senses – it is a masterpiece.  Leslie Cheung as the initially timid tax collector found one of his greatest roles and poor Joey Wong as the beautiful ghost found herself stuck in ghost roles for years. But she was never more beautiful than here and Leslie was never more heroic as he goes into Hell to save the woman he loves.


The Killer, 1989, Director: John Woo

John Woo had found his soul with the Heroic Bloodshed genre and he was to make three of them that are considered by many to be great films with each one in succession ratcheting up the mayhem and body count. But The Killer is probably the best example of this genre that captured not only the imagination of the Hong Kong audience but had enormous appeal to Western fans as well. It is a love story set among the hail of a thousand bullets. It is a story infused with romanticism, mythology, loyalty, honor, death and redemption. As equally sentimental as it is over the top violent, it is full of visceral moments and of images that will roll around your head forever. Somehow John Woo has constructed a film that captures a lost and changing world. A time where men are adrift in a world where honor is no longer a currency that holds any value. Woo explores all these themes in a basic almost cliché ridden story line, but it is so multi-layered and filled with passion that what might feel clichéd elsewhere is perfect here. Chow Yun Fat, in his most mythic role, portrays a professional hitman who still plays by the rules. In completing a contract he accidentally blinds a nightclub singer portrayed by Sally Yeh. His enormous feeling of guilt soon leads to love, but of course she has no idea that he is the person who blinded her. Chow takes one last job to pay for an operation to restore her eyesight, but he is betrayed by the triad head. This leads to finale of gun play, sacrifice and death unlike anything that had been filmed before.


God of Gamblers, 1989, Director: Wong Jing

Another director/producer was beginning to make waves by 1989 and though he is derided by many Hong Kong cinema would not have been the same without Wong Jing. He was to some degree the antithesis of Tsui Hark who created original and beautiful films and often broke new ground doing it. Wong Jing made crass, silly, slick, derivative, over the top commercial pulp films that aimed only to entertain the masses and he often succeeded. He had already directed nearly 20 films by the time he hit upon his perfect formula with God of Gamblers in 1989. It didn’t hurt that he brought on Chow Yun-fat as his leading man. By this time people were calling Chow the God of Actors after The Killer. Wong Jing throws everything into this story of a great gambler who loses his memory and reverts back to behaving like a child. Hong Kong audiences ate it up and it generated a plethora of gambling films that became a genre of its own for years. Needless to say the gambling in this film is closer to kung fu than it is to the Cincinnati Kid. Fast and magical.


Days of Being Wild, 1990, Director: Wong Kar-wai

After the box office success of Wong Kar-wai’s first film As Tears Go By investors lined up to fund his next film. As Tears Go By had been a fairly conventional romantically dramatic piece that told a powerful, personal story and it starred three of Hong Kong’s biggest stars, Andy Lau, Maggie Cheung and Jacky Cheung. All three actors were to also appear in his next film Days of Being Wild along with Leslie Cheung, Carina Lau and the legendary singer Rebecca Pan.  It was to be another romantic tale of criss-crossing fates set in the early 1960’s. What could go wrong? Everything apparently, from the investor’s point of view. Within days of being released you could hear its death rattle all over the city. Audiences had no idea what to make of it. It felt foreign to them, more French perhaps than Hong Kong. As much a slow moving mood piece as a narrative with a chronology that was hard to keep straight and a leading character who is selfish, thoughtless and cruel to the women in his life. And what the hell was anyone to make of the ending coda in which Tony Leung Chiu-wai suddenly appears for the first time for no good reason. Audiences stayed away in droves and critics demolished it with a sneer. Yet over time it has gained quite a fan base, not only because it is a Wong Kar-wai film but because it is an astonishing film and so unlike anything that had been made in Hong Kong previously. The film is almost a continuous roundelay of intimate scenes played out between two of the six characters. Whenever a third party breaks in it feels like an intrusion, as if they don’t belong but these occasions are very rare. Wong Kar-wai utilizes a number of intriguing devices to emphasize the intimacy of this film. Most of the scenes are photographed in murky tight interiors or in the dusk of the evening and the colors are usually very muted. Many of the individual shots are almost still life paintings – beautifully framed and the movement is imperceptible. The two characters often totally fill the screen and are in close proximity to one another and this creates a very claustrophobic and intimate feeling much of the time. Wong uses sound for the same purpose. Listen carefully to the background sounds and what do you hear? Usually nothing. An absolute almost eerie silence – as if there is no other world beyond the walls of intimacy that Wong has built around his characters. On occasion he fills the background with a ticking clock, raindrops falling, the tide turning – all marking time passing – and opportunities lost. With its Latin big band music and the sinewy dancing, it is seductive and lost. Like nearly all of Wong’s films Days of Being Wild bears repeated viewings as the film slowly reveals the cinematic treasures that lay hidden in the dark.

Once Upon a Time in China, 1991, Director: Tsui Hark

For all of the films Tsui Hark had directed by this time he had never really made a martial arts film. There were lots of wuxia films, some comedies, some dramas, some supernatural tales but not a traditional martial arts film, but he takes on that duty here and once again he struck gold and changed the course of Hong Kong film. The character of Wong Fei-hung had generated a much beloved series of films that had lasted for decades and was portrayed by the great Kwan Tak-hing. Yet Tsui decided to update the legend, but to do so he needed someone truly special to portray the mythical figure and Tsui got him in the form of Jet Li. Jet Li had been a wushu champion in China before he turned to the screen in a few astonishing but not well publicized Mainland films. Then he jumped from the Mainland to make a few other movies, none of which were particularly good (The Master, Born to Defense, Dragon Fight), but Tsui Hark who had actually directed Jet Li in the low budget The Master knew a star when he saw one and so when he got the backing to make a big budget martial arts film he turned to Jet Li to star in it. What a good decision that was. OUATIC is an epic film with not only astonishing martial arts but surrounded by a great story of an honorable humble man doing good and kicking ass when needed. A truly magnificent powerful film.


Sex and Zen, 1991, Director: Michael Mak

In 1988 Hong Kong instituted a rating system for films. Before this they had just had guidelines that filmmakers were expected to follow. As mentioned earlier beginning in the 1970’s nudity and erotica began to creep into films (termed fengyue) with the Shaw Brothers in particular happily jumping into this pool and making actresses like Yum Yum Shaw, Chen Ping, Tina Chin Fei, Shirley Yu and Ai Ti into well-known names.  Most of these films were in truth quite dull and by the 1980’s I get the impression that nudity in Hong Kong films was in general decline.  But it wasn’t these types of films that fully led to the ratings system but instead it was largely the extreme violence that came with the success of A Better Tomorrow. One of the ratings was Category III (Cat III) which stated “No one younger than 18 years of age are permitted to rent, purchase, or watch this film in a movie theatre”.  This perhaps had an opposite effect from what was expected because it led to a huge number of Cat III films being made over the next decade; both ones that were full of sex and nudity but also ones that took graphic violence well beyond A Better Tomorrow.  Perhaps the most famous erotic Cat III film is Sex and Zen. Set in the Ming Dynasty, it is a perverse insanely bizarre film of penis mutilation, a horse penis transplant, lesbianism, torture, huge dollops of nudity and simulated sex and of course Amy Yip. Amy Yip with the prodigious bosom and innocent pooky face became a national icon with this film and her Yiptease which shows a lot but never quite reveals everything was the talk of the town.

Hard Boiled, 1992, Director: John Woo

It may seem much to fanboyish of me to include three Heroic Bloodshed films from John Woo, but it is nearly impossible to leave these films off of this list because all three in their own ways are three of the best action films ever made in Hong Kong. A Better Tomorrow got this sub- genre started, The Killer made it a sublime art form and Hard Boiled took mayhem and bullet ballet to a crazy level. Hard Boiled with Chow Yun Fat and Tony Leung Chiu-wai avoids the romanticism and sentimentality of the first two films and just gives the audience a cornucopia of intense action shoot outs.  But Woo still heavily indulges in his typical male bonding with the testosterone so thick you can smell it from across the room and at the end of the film you sort of suspect that Chow Yun-fat would like to be on that sailboat too. Unlike ABT and The Killer Chow Yun Fat does not play a stoic honorable criminal, but instead he plays a relentless cop after a mad dog killer and his gang and Tony Leung is a sensitive undercover cop on the edge. The final action set-piece that goes on forever it seems is legendary and takes place in a hospital among crying babies, crippled patients and a fusillade of flying bullets. It is action nirvana.

Heroic Trio, 1992, Director: Johnnie To

I won’t pretend that Heroic Trio is an important film or even a great film. What it is though is great stylish fun that is like snorting champagne bubbles for 90-minutes.  Set in a futuristic dystopian time an all-powerful eunuch has plans to become the Emperor of China from his underground lair beneath the city of Hong Kong. The only thing between him and his mad dreams are three super heroines who reluctantly join together to battle evil and various forms of demons. Starring Anita Mui, Maggie Cheung and Michelle Yeoh as the heroic trio who have enough charisma between them to explode a nova star. The film has a comic book texture and flair to it but done with so much imagination and heart that it would win over Ebenezer Scrooge on Christmas Eve. This was directed by Johnnie To who was of course to become much more famous later on for a very different kind of film.

Naked Killer, 1992, Director: Clarence Ford

Wong Jing as the producer and writer of this film brought together all of the elements of film that he so cherished into his most perfect gooey confection of sex and violence. He handed the directing reins over to Clarence Ford which turned out to be a brilliant choice. In a few of his previous films – Iceman Cometh, Dragon from Russia, The Greatest Lover – Ford had shown that he had a great eye for design, beauty and movement and he utilized that skill here to make a glorious piece of eye-candy that bombards the viewer with a cascade of delirious images. It is wonderfully trashy, high camp, outrageously seductive, in sublimely bad taste – but it pulses with so much energy, style and pizzazz that it is impossible to turn your head away. Wong Jing and Ford create a wildly colored canvass of garish colors, beautiful people, jazzed up fashions and gaudy death. Lesbian killers, detached organs, demented rapists, poisoned lipstick, impotency and kinky sex is mixed together by Wong to create a glossy Technicolor wet dream. The movie centers on a group of professional female killers that take particular pleasure in killing and emasculating abusive men. They just don’t kill though, they do it with style and aplomb – it’s an art form to these women – you just don’t kill, you have to look good doing it.


Swordsman II, 1992, Director: Ching Siu-tung

Ching Siu-tung and producer Tsui Hark combined once again after A Chinese Ghost Story to make one of the most eye-popping crazed wuxia films ever put on celluloid. Swordsman II is the second in a trilogy that can be seen separately but are most satisfying as a whole. The first film Swordsman was directed by Tsui Hark after he took over from King Hu and it is a much more classically beautiful wuxia with Sam Hui playing the role of Ling Wu Chung. In the second and third film (the third being The East is Red), Tsui Hark drops all pretense of making a traditional wuxia and goes all out to fill the screen with images that will singe your retinas. It is free flowing wire enhanced action on amphetamines in which no one walks when they can fly or jump.  Jet Li is terrific as always but the film is stolen by the charismatic and stunning Brigitte Lin who plays the sexually gender mutating Asia the Invincible.  This is such an absolute kick to watch; incredibly imaginative, full of energy, colors, startling images and swirling action. It will make your head spin from the beginning to the very end. Take a day off from the real world, sit back, buckle up and watch this trilogy run over you.


Green Snake, 1993, Director: Tsui Hark

Welcome once again into the dreamy narcotic world of Tsui Hark. He once again takes a traditional story and puts it on rocket boosters to take us to another universe.  Glorious and sumptuous with deep ingrained colors that are hypnotic; Tsui tells this traditional tale of good and evil and of free-will versus pious fundamentalist zealotry.  Often told in film and in theater, it is the story of two snakes who take on human female form to live a life of indolence and sexual desire only to be hunted down by a monk who finds them an abomination.  That these snakes had the exquisite taste and good sense to take on the forms of Maggie Cheung and Joey Wong can only be in their favor. Neither actress has ever looked more beautiful and magical. Perhaps not Tsui’s most coherent or fast moving films; it is still a magical mystery tour worth taking.

Chungking Express, 1994, Director: Wong Kar-wai

The story of how this film came into being has been told many times but it is worth repeating because very likely the genesis of the film is what created the wonder that it is. Wong Kar-wai was in the middle of directing Ashes of Time out in the desert and in what was to become his trademark, it was taking forever. The actors were getting frustrated and needed a break as did Wong. So he took two of his actors and picked up a few more in Hong Kong, popular singer Faye Wong being one, and made a movie in a couple of weeks. Much of it appears to be film making on the run - ad hoc and improvisational - yet it all weaves together. Somehow he created magic and captured lightening in a jar. This is just a charming montage of a film that delights at every turn and which you will want to watch numerously like you would listen to your favorite record. It is a film about relationships in modern day Hong Kong or perhaps the lack of relationships. Everything is connected and yet at the same time disconnected. Everyone is out of synch and out of time with the people around them. Wong’s film technique to show this is brilliant as from time to time his characters are nearly motionless as the world zips by them at blinding speed. Yet this is a joyful film - a gentle comedy full of intriguing characters, very funny moments, fascinating editing, eccentric dialogue, terrific songs, charismatic actors and an enigmatic yet hopeful ending that will burrow into your heart and happy glands. As will Faye Wong.


Ashes of Time, 1994, Director: Wong Kar-wai

When Ang Lee, the director of Crouching Tiger, Hidden Dragon, was asked why he had made a wuxia film after having already been so successful making dramas, he said that every Chinese director wanted to make a martial arts film. That it was a part of their heritage and firmly rooted in their DNA.  This apparently was also the case with Wong Kar-wai who went from two small dramas (As Tears Go By and Days of Being Wild) to undertaking an extremely ambitious film that took over two years to film and was shot in the infernal heat of the desert. What is also amazing is that for a still fairly new director, he was able to recruit the very cream of the crop of Hong Kong actors (Brigitte Lin, the two Tony Leungs, Leslie Cheung, Jacky Cheung, Charlie Yeung, Maggie Cheung and Carina Lau) and they all stuck with him for this film. Only Joey Wong who initially had the Charlie Yeung role had to drop out. These actors knew that they were working with a genius and working on a great film and wanted to be part of it. Without a doubt this is one of the most beautifully photographed films ever made. Every frame seems to have been painstakingly thought out with a painter’s perspective. The stand-alone images from this film are unforgettable. The colors, textures, rich hues, use of light and shadow and striking portraits are almost overwhelming; like a wave washing over you. But what a difficult film it is to get your arms and mind around. Wong Kar-Wai has created a film that is structured in such an elliptical perplexing way that it needs more than one viewing to understand the plot and the characters. The first time I watched this film I nearly shut it off after twenty minutes because I felt so confused with what was happening on the screen as the jumps in time and characters is maddening to try and follow. Then slowly it pulled me in and I found it fascinating and powerful. The tone of sadness and dislocation that permeate the film seeps into your bones like an autumn chill. In some ways the film could be accused of catching a case of self-importance in its heavy philosophical tone, use of inner narrative and the near fetish for beauty, but it creates such a multi-textured tapestry of images and music that I don’t care. This being a wuxia film needless to say there was also some action and the choreography from Sammo Hung is brilliant but the way in which Wong edits it is even more stunning and fascinating. The film did not do well at the box office for all the above reasons and has led to years of critical obtuseness, so in 2008 Wong Kar-wai re-edited the film and rescored it to make it easier to follow in Ashes of Time Redux.  


Drunken Master II, 1994, Director: Lau Kar-leung

Sometimes you have to include a film on a list like this just because it’s so damn good. Drunken Master II is that good and better. Jackie Chan had been in a bit of a slump after his many great films in the 1980’s. Films like Armour of God II, Crime Story, Police Story III were certainly solid films and even a silly confection like City Hunter was enjoyable to some extent, but none of them are classics. So he brought on veteran director Lau Kar-leung to add some oomph to the film and did he ever. I don’t have any of Lau’s films on this list and that may be an oversight because there are very few directors or action choreographers that were more influential than he was in the action genre. Beginning way back as a choreographer in the 1950’s he gained a reputation as a kung fu choreographer who liked his action real. He was the action choreographer of loads of low budget Cantonese films of the 1960’s before he moved over to the Shaw Brothers in the 1970’s and directed some classic films such as Spiritual Boxer, Executioners from Shaolin, The 36th Chamber of Shaolin and My Young Auntie. He pushed Jackie to make his best and most traditional martial arts film in years. It is a spectacular display of kung fu with large amounts of humor tossed in like a leafy salad. But the pièce de résistance and the basis for much of the film’s reputation is the final confrontation between Chan and Ken Lo and other thugs. It will leave you as bruised as it does the participants. It may be one of the best kung fu fights ever on film.


Fist of Legend, 1994, Director: Gordon Chan

Co-incidentally, much of what I said about Drunken Master II could be repeated here except instead of using the legendary Lau Kar-leung, Fist of Legend utilizes the legendary Yuen Wo-ping who was the mastermind behind so many action films that you could put yourself to sleep at night counting them.  Fist of Legend with Jet Li is a loose remake of Bruce Lee’s Fist of Fury, and though I don’t want to receive the anger of Bruce fans Fist of Legend is a better film. Admittedly, the much bigger budget, the advancement in film technology and the more sophisticated script were prime reasons for this. The fight choreography truly is awesome – incredibly clean, pure, powerful, quick and as graceful as any ballet. It is almost dance like in its incredibly precise movements and has an amazing rhythm to it. The wire work is kept to a minimum and the fighting style is more in keeping with the traditional kung-fu films – but so much faster, so much more exciting and edited to perfection. Though this film's great reputation rests to a large degree on its action, it has a number of other interesting cultural and personal cross-currents that make it an even richer and more rewarding film. Compared to the Bruce Lee film, Fist of Legend approaches the story in a much less simplistic manner and has a number of other characters and plot threads that create a fuller portrayal of this period in Chinese history. Jet Li has rarely been better and his acting more proud, honorable and quietly charismatic.


He's a Woman, She's a Man, 1994, Director: Peter Chan

In 1992 a new film company came to town and for a few years they were to make some of the best films in Hong Kong, but amazingly their focus was not martial arts or the supernatural or even crime stories, they were simple human comedies or dramas that very much were meant to appeal to the urban middle and upper class. UFO (United Film Organization) had made a few films by 1994 but it was this film that really put them on the map. It is a sublime and touching romantic comedy with Leslie Cheung, Anita Yuen and Carina Lau. The film struck me as the sort of thing Lubitsch would have made if he were alive in Hong Kong today. It is a gender blending comedy with Anita’s character disguising herself as a man so that she could get close to her singing idol Leslie, who then finds himself falling in love with Anita but feeling so confused because he thinks that she is a he. When Leslie states in total confusion and abjection that “whether you are a boy or a girl, I just know that I love you” is one of great romantic moments in film. The fact that Leslie was known to be gay in real life only added some inside spice to this terrific film.

Red to Kill, 1994, Director: Billy Tang

The Cat III rating not only brought on an onslaught of nudity and erotic films to the market, it also appeared to be the springboard for a number of extreme scurrilous graphic films that sliced deep into the bowels of your soul and found nothing there but black hate.  These films were usually about misogynistic psychopaths (and sometimes based on true cases) looking for perverse sex and death. Some of the sleaziest and more horrifying were Daughter of Darkness, Dr. Lamb, Love to Kill, The Untold Story and Run and Kill, but perhaps Red to Kill was the nastiest and sickest of them all as it sets a serial killer in the midst of a group of the mentally challenged with the childlike Lily Chung as his prime obsession. But taking all this into account and realizing that it is far from the taste of most people, one has to admit that Billy Tang has made a powerful and painful film that will keep you on tenterhooks. Sharp ones.

The Chinese Feast, 1995, Director: Tsui Hark

On the surface, this film may seem a bit clichéd but in the hands of Tsui Hark it is a whirlwind comedic romp of cooking, slapstick, eccentric characters and a quirky storyline. A restaurant has to enter a cooking contest to stay open and is forced to find a broken down drunk who once was a great chef.  The cooking contest scenes are as exciting and brilliantly choreographed as a Yuen Wo-ping kung fu matchup and the ending has an almost Rockyesque feeling to it that will get you out of your chair to cheer. Starring that great couple Leslie Cheung and Anita Yuen, they and the film is as charming and light as a lemon soufflé.  If you like Chinese food or cooking or comedy or all three this is a film that cannot be missed.

Big Bullet, 1996, Director: Benny Chan

By 1996 the Heroic Bloodshed film had run out of gas and bullets and audiences were ready for crime stories that felt closer to reality and had characters that were more complex and conflicted. This film seemed to partly spark the terrific series of contemporary realistic and tense crime thrillers that were to follow in the next few years (Full Alert, Task Force, Beast Cops, The Suspect and the Milkyway films). These films had a tough gritty edge to them and contained some of the very best acting around. Of course, Lau Ching-wan is most often associated with these films - and to some degree it began with Big Bullet. Before this Lau had primarily been cast in dramas or romantic comedies, but this film showed that he had the charisma and acting chops to take charge and make his strong relentless characters very believable. This is an exciting, well-directed, finely acted and absolutely terrific film that takes you into the lives of a group of cops in the Serious Crime Unit.

Ebola Syndrome, 1996, Director: Herman Yau

Taking tastelessness to new limits in which pretty much anything goes is the grungy despicable Ebola Syndrome. Most surprisingly perhaps to some viewers who know of him mainly for his films of the past decade is that this film is directed by Herman Yau. Yau has an amazingly diverse and prolific filmography from the recent Ip Man: The Final Fight to serious dramas such as Whispers and Moans to the powerful anti-capital punishment From the Queen to the Chief Executive to numerous episodes of the Troublesome Night horror series. But when Yau was a young man he happily dipped his wick into Cat III films with the obscene and entertaining The Untold Story about a serial killer who then turns his victims into pork buns and then pushes the boundaries of bad taste even further with Ebola Syndrome.  Yau’s favorite actor Anthony Wong portrays a rapist and killer who has to flee to Africa to escape the cops and buys meat for his butcher shop that is tainted with the Ebola virus and he manages to contact it himself after he rapes a woman who is infected with it. Madness and vile things ensue with Wong and Yau playing it up for as much depravity as is possible. Need I add that the film is an absolute hoot that will crack you up and disgust you at every turn.  Ebola Syndrome was really the last one of these Cat III films that truly reveled in the muck with a sense of outrageousness, degeneracy and willingness to test the limits. After this Hong Kong horror went rather soft and relatively tame. Ebola was the last great statement of perverse sweaty grunge and now with the oversight of the Mainland it is highly unlikely that these sorts of films will ever return.


Comrades, Almost a Love Story, 1996, Director: Peter Chan

Like every film industry Hong Kong has made its share of romances, but without a doubt Comrades is simply the very best (only An Autumn’s Tale and Eight Taels of Gold come close). For the most part Chan eschews the screwball comedy that infuses many Hong Kong romances or the predictable tragedy that infects so many other Hong Kong romances and instead builds up a dramatic love story that slowly unwinds over a period of a decade with the city of Hong Kong always lingering in the background as much a character as the actors. At times it feels like a love letter to the city but also one to a disappearing culture as the city approached the 1997 Handover.  The film ebbs and flows with various storylines and changing times as the two main characters (played by Maggie Cheung and Leon Lai) struggle through life and heartbreak. Chan always keeps the audience on the edge as to whether these lost forlorn souls will ever find one another in a world so big and so cold. The final scene played with the backdrop of the announcement of Teresa Teng’s death is subtle, quiet and astonishingly cathartic.


The Mission, 1999, Director: Johnnie To

As the 1997 Handover approached most of the Hong Kong film industry went into a creative and quantitative funk, but it seems to have had the opposite effect on Johnnie To as he went on to do the best work of his life. In 1997 To and Wai Ka-fai formed the Milkyway Image production house in which they were to soon be making films that were some of the best in the history of Hong Kong and by doing so kept the feeble pulse of the film industry beating. There was really nothing in To's background to predict this - he was certainly a competent director and on occasion hit the jackpot with a film like Heroic Trio , but his films were very much studio animals and he seemed to have no particular vision of his own. That was to quickly change. To and Milkyway went on a fifteen year run of exquisite lean, stylish and tense crime thrillers that were the best in the world and I would easily opine that no director (including even To’s own hero Jean-Pierre Melville) have constructed as many great crime films as To has. He has an unnerving ability to tread the same territory of noir, triads and murder many times and yet always find a fresh intriguing angle. Milkyway's initial films reflected the mood at the time - dark, pessimistic and fatalistic that not only had an overriding sense of unease and distrust of authority but also had pointed political references such as a vicious immoral Mainland killer coming to Hong Kong in Intruder and death being the end result of going to the Mainland in Too Many Ways to Be No 1. I could have picked a number of films to represent the Milkyway crime films – The Longest Nite, A Hero Never Dies, PTU and Exiled are all wonderful films – but The Mission represents the best of Milkyway. It is a simple plot. Five professionals are hired to bodyguard a man who feels his life is in danger. With various twists and turns these five go about their business of doing what they were hired to do. This is strictly a man’s world in which women have no part and can only cause trouble. The men here don’t even seem to need them or want them – as the act of male bonding and loyalty seems to be a much higher calling. This is a world where death comes often and comes quickly though not always easily. Sometimes death comes in the flash of the moment, other times it is slow and drawn out. Beautifully shot with minimal sets and brilliant acting and quick and startling action, The Mission is a classic of crime.

Infernal Affairs, 2002, Director:  Andrew Lau

This crime story was so popular in Hong Kong that it not only necessitated two sequels but was also picked up for a Hollywood remake (The Departed) directed by none other than Martin Scorsese.  It has an extremely clever convoluted plot in which the cops send in a man (Tony Leung Chiu-wai) undercover into the triads and the triads send one of theirs undercover into the police ranks.  As these two burrow their ways deeper into the hierarchy of their respective organizations over the years it comes to the attention of both groups that they have been infiltrated and a frantic cat and mouse game ensues that is masterfully suspenseful, twisted and deadly.  Andy Lau’s character as the triad mole in the police force brings to mind the poetry of W.H. Auden “Evil is unspectacular and always human, and shares our bed and eats at our own table”. As he scrambles for his survival as does Leung, the film is always surprising and gripping. It is clearly one of Hong Kong’s best crime dramas.

Kung Fu Hustle, 2004, Director: Stephen Chow

I have to admit to having being tempted to add a few other Stephen Chow films to this list such as From Beijing with Love, Forbidden City Cop or King of Comedy, but in the end I felt that Kung Fu Hustle was the culmination of Chow’s artistic growth. Stephen Chow has been Hong Kong’s most popular film comedian since the early 90’s; very much the inheritor of this mantle from the Hui brothers. His form of comedy is referred to as mou lei-tau or nonsense comedy. I think of it more as “even the kitchen sink” comedy. He will do anything to create a funny situation or get a cheap laugh. Slapstick, parody, sight gags, toilet humor, word play, accents are all in his arsenal. Sometimes he hits a bull’s-eye and you will fall down laughing, other times you are scratching your head wondering what you missed. Often the humor comes at you like a hail of spit wads and it is difficult to take it all in. Other times there is a slow build-up with a big punch line at the end. Chow usually goes through a film with near Buster Keaton like stoicism with only occasional short bursts of anger or hysterics. There is no doubt that he was the world’s funniest and most prolific comedian in the 90’s. To me there is a passing resemblance of his comedic growth to that of Woody Allen. Like Allen, his early films were not particularly sophisticated and were a near collection of gags and skits that he grouped together and called a film. But his films took on more emotional weight as can be seen in Forbidden City Cop in 1996 but for me he had his Manhattan with King of Comedy in 1999. It was a mature work with fully fleshed out characters in which the comedy stemmed from them as opposed to the comedy buzzing around them. In 2001 came Shaolin Soccer which took Chow in a new direction and to new heights of comedy. But Kung Fu Hustle is his Oedipus Rex. Chow who used to knock off his films in nanoseconds it seemed took three years to make this. It is an epic ambitious comedy that is unlike anything anyone had ever seen. It is a hilarious homage to old kung fu films that will have you rolling over in laughter one minute and agog in wonder the next.  Chow is like a comic kung fu master who has learned every form of humor and seamlessly wields them with astonishing wit, speed and variation.


As you can see I have no films after 2004. This is partially due to my diminishing viewing habits of Hong Kong films but also because at least of the ones I know none really deserve to be on the list as good as some of them have been. Please feel free to correct me if I am way off base.