January-1999

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50 (R-3) BOXOFFICE AFM REVIEWS prison hell-bent on revenge, a bom-again vigilante for hire who only accepts assignments targeting known crime figures and assorted lowUfes. Outside of his occasional excursions into mayhem, however, Cat lives a strangely monastic existence, communicating his turbulent inner conflicts to a night-time radio talk show host (Lui Yu Yeung) while admiring a beautiful young policewoman named Carrie (Annie Wu Chenjun) from afar. Until, that is, he comes to believe that Carrie is somehow involved with Wesley, a misunderstanding that sets his emotional equiUbrium on fire, finally catalyzing the inevitable confrontation with his betrayer. And yet, for all of its genre-splicing aspirations, Yen's film aims for more than pop entertainment, a credit to the film's screenwriter, renowned Hong Kong cinema authority Bey Logan. "No one is innocent," Cat tells Carrie at one point, elaborating with a monologue on the depravity of human nature that is both chilling and lyrical. Ordinarily, the integration of such overt preachiness in what is ostensibly an action film would be construed as pretentious. But in "Ballistic Kiss," the tactic is surprisingly successful, in part because Logan and Yen use the philosophical subtext to help unify the film's fragmented stylistic pedigree. As a result, what might easily have become a bastard hybrid of John Woo, Wong Kar Wai and Ching Siu-Tung manages to be simultaneously thrilling and thought-provoking. Whether in Hong Kong or Hollywood, that's no small achievement. Wade Major THE BLACKSHEEP AFFAIR i^^^ Starring Zhao Wen-zhuo, Shu Qi, Andrew Lin and Ken Wong. Directed by AUun Lam. Written by Alex Law and Roy Szeto. Produced by Alex Law. No distributor set. Not yet rated Running time: 91 min. During the Hong Kong glory days of the mid-1980s, something like 'The Blacksheep Affair" would probably have been deemed solid, if unremarkable, entertainment. Amid the former colony's current doldrums, however, anything even so remotely reminiscent starts to seem like a refreshing blast from the past, a welcome reminder that some fire may yet remain in vibrant Cantonese industry. Starring the popular Zhao Wen-zhuo, best known for bnefly replacing Jet Li in the "Once Upon a Time in China" series, 'The Blacksheep Affair" is a standard-issue political thriller set in a fictitious former Soviet republic named Lavernia. Zhao plays Chinese special agent Yem, a hotshot, daredevil hero reassigned to the Lavemian Chinese embassy in hopes that he will finally temper his irritating predilection for disobeying orders in order to save lives. Trouble, of course, follows Yem like a stray dog. For no sooner has he arrived in Lavernia than he finds himself at the center of an escalating terrorist plot involving corrupt Lavemian officials, Italian mobsters, renegade Cambodian soldiers and a psychotic Japanese cult leader named Mishima. And lest the filmmakers be criticized for not sticking to the established formulas, Yem must also contend with such obligatory distractions as the excess baggage/comic relief partner and the estranged always-in-the-wrong-place-at-the-wrongtime girlfriend. Despite the preposterous and almost hopelessly convoluted plot, "The Blacksheep Affair" still manages to be tremendously entertaining, a credit to Zhao's charisma and some absolutely sensational martial arts and action sequences staged by the brilliant Ching Siu-tung ("A Chinese Ghost Story"). Wade Major A CHINESE GHOST STORY: THE TSUI HARK ANIMATION ^^li^^ Cantonese voices by Jordan Chan, Tsui Hark, James Wong andAnita Yuen. Mandarin voices by Sylvia Chang, Tai-Yau Law, Lichun Lee and Tsui Hark. Directed by Andrew Chen. Animation direction by Norichika Endo. Written by Tsui Hark. Produced by Tsui Hark and Nansun Shi. A Film Workshop Production. No distributor set. Animation. Cantonese/Mandarin-language; subtitled. Not yet rated. Running time: 83 min. Owing as much to George Dunning' 1968 landmark animated feature "Yellow Submarine" as to the original 1987 liveaction "A Chinese Ghost Story," producer/screenwriter Tsui Hark's aptly-titled remake "A Chinese Ghost Story: The Tsui Hark Animation," is a dazzling odyssey into Chinese myth and fantasy destined for instant cult status rivaling even that of its esteemed predecessor. Wisely borrowing its look from the world of anime, this exceptional new film follows essentially the same story as the original, itself based on the Songling Pu novel about a young man's journey through time, space and dimension to find his lost love. The undertaking, however, will not be an easy one, with assorted demons, spirits, ghosts and a pair of egomaniacal ghost hunters all lying m wait to foil his noble quest. In addition to being one ofthe most visually resplendent animated features ever created, "A Chinese Ghost Story: The Tsui Hark Animation" is also one of the smartest, offering ample doses of fiin and wonder for all age groups. Thanks to the skilled team of pan- Asian artists, headed by animation director Norichika Endo and director Andrew Chen, the film flawlessly integrates both traditional anime and state-of-the-art computer animation while never overwhelming the sublime, poetic simplicity of Tsui Hark's script. More astonishing than the filmmakers' accomplishment, however, is that it didn't arrive sooner. Rarely, if ever, has there been a subject more perfectly suited to the magic of animation than "A Chinese Ghost Story," with all of its mind-bending, mythical twists and turns and phantasmagorical encounters. And while it may never replace the original in the hearts and minds of its most devoted fans, "A Chinese Ghost Story: The Tsui Haric Animation" should have little trouble winning hearts and minds of its own. Asian film buffs will also appreciate the handful of celebrity vocal contributions, most notably Tsui Hark himself who serves as the "voice" of Jinjian (Solid Gold) the dog in both the Mandarin and Cantonese versions. Wade Major COLORS OF THE BLIND iriîr Starring Tao Hong, He Bing and Jiang Kai. Directed by Chen Guoxing. Written by Wan Fang. Produced by Chen Guoxing. No distributor set. Drama. Not yet rated. Running time: 96 min. With such world-class artists as Zhang Yimou and Chen Kaige having so consistently run afoul of Chinese officials, it comes as no surprise that more and more Chinese filmmakers are opting for pictures like "Colors of the Blind," part of the "Contemporary Chinese Showcase" collection currently being marketed to the West via Hong Kong's Golden Harvest. Though hardly a bad film, "Colors of the Blind" is certain to disappoint Western audiences accustomed to the visual and narrative bravura that first brought Chinese cinema to the world stage. On the other hand, viewers able to divorce the film from such comparisons and judge it on its own merits will discover a touching tale of personal triumph well worth the effort. The story is simple enough: A spirited young bUnd girl (Tao Hong) is taught to run track by a coach for whom she develops affections. Initially unable to return her feelings, the coach eventually finds himself likewise falling in love as the girl' s winning spirit propels her to personal victories both on and off the track. Had "Colors of the Blind" been filmed in the U.S., it would undoubtedly have wound up on television, mostly likely as an afterschool special. Thankfully, no such stigma exists in China, and "Colors of the Blind" benefits accordingly, boasting solid production values and a marvelous lead performance from Tao Hong. To this end, the film successfully transcends its genre, feeling more like "Rocky" crossed with "The Miracle Worker" than a disease-ofthe-week telefilm. Unfortunately, in today's increasingly competitive marketplace, good is no longer good enough to secure North American distribution for foreign language pictures, making prospects for apolitical human interest fare like "Colors of the Blind" dim at best. Wade Major CONCERTO OF LIFE ^1^^1/2 Starring Wang Luoyong, Yan Xiaopin and Da Shishang. Directed by Xia Gang. Written by Meng Zhu. Produced by Lu Yao. No distributor set. Drama. Not yet rated. Running time: 102 min. Markedly more challenging than most recent mainland Chinese fare, the factbased "Concerto of Life" is an amiable, even moving drama that manages to touch on many of the same themes and issues to which audiences responded so strongly in "Shine." And though the film is ultimately less risky and more conventional than its
<strong>January</strong>, <strong>1999</strong> fR-4) 51 AFM REVIEWS I Australian counterpart, those fortunate enough to see it should find themselves similarly engaged. Based on true events, the film tells the story of Jian Sheng, a gifted musician whose dreams of becoming a concert pianist are shattered by the Cultural Revolution, forcing him to turn instead to a Ufe of teaching. But fate continues to treat Jian Sheng poorly as his once-happy marriage to a former pupil disintegrates. With the pain, however, comes unexpected triumph as two of Jian Sheng' s students begin to exhibit the kind of skill of which he himself was once thought capable, skills through which he begins to live vicariously as he coaches them toward the career he never had. Admittedly, movies like "Shine" or "Concerto of Life" benefit ftiom the inherent emotion of whatever music is selected to supplement the narrative. And in the case of "Concerto of Life," a stunning soundtrack has been compiled, boasting some of the most affecting pieces of classical piano music ever written. But music is only part of the film's winning equation, augmenting already fine contributions from screenwriter Meng Zhu and director Xia Gang. Arguably the strongest of Golden Harvest's "Contemporary Chinese Showcase" collection of recent mainland productions, "Concerto of Life" looks to have better-than-average chances of receiving foreign distribution—welcome prospects for a very deserving film. Wade Major HITMAN iîî^ Starring Jet LL, Eric Tsang, Simon Yan and Gigi Leung. Directed by Tung Wau Written by Cheng Kam-fu. Produced by Gordon Chan. No distributor set. Action. Not yet rated. Running time: 105 min. Essentially a Hong Kong action variant on "It' s a Mad, Mad, Mad, Mad World," the latest from Chinese superstar Jet Li, "Hitman," plays primarily to Li' s core audience, a solid effort, if not among his best, that should help further shore up his reputation after his Hollywood debut in Warner's "Lethal Weapon 4." In the film, Li stars as Tai Feng, a wouldbe killer from the mainland with the dubious distinction of being so nice that he's never actually killed anyone. Nonetheless, he possesses lethal skills well worthy of the profession, earning himself a spot in a kind of hitman's seek-and-destroy free-for-all. The target of all the commotion is an anonymous assassin known only as "The King of Killers," responsible for die execution of a ruthless Japanese plutocrat. Whoever succeeds in killing "The King of Killers" will earn himself a $1 billion bounty from the posthumous revenge fund which the deceased plutocrat created for that very purpose. As with most Hong Kong action films of this type, "Hitman" walks a precarious moral tightrope, frequently forcing its audience to root for individuals of questionable character only because everyone else around them is so much worse. Where the film transcends its genre is in its surprisingly well-wrought script, credited to Cheng Kam-fu. Beyond the usual array of eye-popping set pieces, including a stunning fight sequence in an elevator shaft, "Hitman" features more than a few very clever twists—so clever, in fact, that even in the film's climactic moments a clear resolution is far from evident. That the actual resolution is so satisfying makes the accomplishment even more impressive. Where "Hitman" unfortunately bogs down is with respect to Tai Feng's relationship with his "agent" Sam Wong, played by the popular comic actor Eric Tsang. While there is no questioning the chemistry between Li and Tsang, it is a chemistry designed to play primarily to hometown crowds. Western audiences, by comparison, are likely to find Li's and Tsang' extended "buddy" routine more tedious than endearing, especially considering excess of screen time devoted to it. Thankfully, the film soars more than it stumbles, and ultimately provides yet another fine showcase for Jet Li's able acrobatics and boyish charms. Wade Major HOLD YOU TIGHT •*1/2 Starring Chingmy Yau, Ko Yue-Lin, Sunny Chan and Eric Tsang. Directed by Stanley Kwan. Written by Jimmy NgaL Produced by Raymond Chow. No distributor set. Drama, Not yet rated Running time: 95 min. His international reputation notwithstanding. Hong Kong director Stanley Kwan has always been a markedly acquired taste, a maker of exotic, personal films as mystifying as they are mysterious. Greater than any of his artistic achievements, however, has been Kwan's uncanny ability to thrive as an art film auteur for more than a decade in the fiercely competitive Hong Kong film industry. His latest, "Hold You Tight," recipient of two special awards at this year's Berlin Film Festival, reflects the worst and the best of Kwan's oeuvre. Both conceptually compelling and aesthetically pretentious, "Hold You Tight" is neither as good as it wants to be, nor as disastrous as it should be. And while it's unlikely that anyone outside of Kwan's own circle of family and friends will be able to make heads or tails of the story, there remains enough in the way of visual inventiveness and strong acting to keep it interesting. Popular action film ingenue Chingmy Yau ("High Risk," "Naked Killer," "City Hunter") segues impressively into dramatic territory as two different women united by similar spiritual sensibilities. The first. Ah Moon, is a married woman who vents her nuptial frustrations via a torrid affair with a Taiwanese drifter named Jie (Ko Yue-Lin). When Ah Moon is suddenly and unexpectedly killed in a plane crash, Yau returns as Rosa Gao, a Taiwanese shopkeeper in whom Jie starts to take an interest, seemingly believing her to be his deceased love's doppelganger...or something. Much like Kwan's most famous film, 1987's "Rouge," "Hold You Tight" works best on a subconscious level. Thinking too much about the goings-on is bound to make them more confusing than they already are. Yau's sudden transformation into another character, for example, happens so suddenly that many viewers may not even catch on to the gimmick, much less realize that Ah Moon has died. In Kwan's films, however, following the narrative is not as important as following the emotions, which in this instance are thankfully stronger than the story surrounding them. Wade Major PRAGUE DUET **l/2 Starring Gina Gershon and Rade Serbedzija. Directed by Roger L. Simon. Written by Sheryl Longin & Roger L. Simon. Produced by Sheryl Longing and Klaus Volkenborn. No distributor set. Romance/drama. Not yet rated. Running time: 94 min. Reminiscent of the many postwar romances with which audiences of the '40s and '50s were once inundated, "Prague Duet" struggles to rekindle a similar sense of melodrama amid the political turmoil of modem-day Prague. Sadly, the attempt is successful only in the most superficial sense, finally falling victim to the same cliches and plot contrivances that ran the genre into the ground in the first place. Gina Gershon stars as Dr. Lauren Graham, a child psychologist on her way to a professional convention in Prague when she meets a charismatic dissident author named Jiri Kolmar (Rade Serbedzija), by coincidence the leading candidate to become Czech Minister of Culture. For reasons neither clear nor particularly relevant, the two immediately connect and a chance encounter gives way to the obligatory whirlwind romance, complete with all of the usual surprise revelations and cross-cultural obstacles. While there is precious little in "Prague Duet" that hasn't been done and redone a hundred times previously, it would be unfair to label the film a complete failure, especially considering how unfamiliar today's audiences are likely to be with its dramatic forebears. What really sustains "Prague Duet" through its formulaic paces, however, has less to do with tone and subject matter than the superb casting of Gershon and Serbedzija, who prove themselves no less effective at playing romantic leads than the darker, edgier characters for which they are best known. It is co-writer/director Roger L. Simon, however, who stands to either gain or lose the most from the film's fortunes. Previously known mainly as Paul Mazursky's co-writer on such films as "Scenes from a Mall" and "Enemies: A Love Story," Simon is clearly seeking to establish his own voice here, a goal which he realizes only in fits and starts. Aside from some spectacular lensing of the Czech locations, the film is technically unremarkable, with Simon missing countiess opportunities for muchneeded directorial flourishes. Wade Mcgor
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January-1999

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