“Iron Monkey”, directed by noted martial arts choreographer Yuen Woo-Ping, is a Hong-Kong action-adventure that combines compelling drama, cheeky comedy and energetic action.
The story is inspired by the 19th century Chinese folk hero, Wang Fei Hong, a martial artist of great skill and a traditional Chinese herbalist who fought against government corruption. There have been many Chinese films about Wang Fei Hong but this is one of the few that takes a perspective from his early youth.
We are introduced to the Iron Monkey -- whose moniker is derived from the famous Monkey King -- in the dead of night as a masked, ninja-quick stealth fighter who battles a posse of evil Shaolin-trained guards, gains access to the corrupt Governor’s mansion and steals a treasure chest of gold which he proceeds to give away to the poor. We learn that the Iron Monkey, beholden in the community as a defender of the poor and weak, is a wanted man whom the Governor and his henchmen have not been able to capture. Frustrated and at wit’s end, the Governor kidnaps and holds hostage the young Wang Fei Hong, son of Wang Kei Ying (Donnie Yen), a traveling physician reknowned for his superb kung fu skills, forcing him to track down the Iron Monkey in exchange for his son’s freedom. What ensues is a classic story of good guys teaming up to fight bad guys with lots of eye-popping, adrenaline fueling action.
“Iron Monkey” is distinguished by its stellar fight choreography which combines traditional kung fu fighting with graceful “flying” acrobatics. One particularly exquisite scene occurs early in the story when we learn that the Iron Monkey is a compassionate local herbalist. Upon returning to his clinic after a night of battling evildoers, he greets his assistant Orchid and prepares to close up shop just as a strong wind scatters a pile of papers about the room. The floating ballet between the doctor and Orchid as they gather up the papers is not only a beautiful demonstration of kung fu but also underscores the emotional bond between the two.
Another notable aspect of the fight choreography is the creative use of simple props and background objects as weapons. Wang Kei Ying’s first fight with a group of local hooligans is masterful as he uses his umbrella in ingenious ways to defeat the gang. This umbrella fighting technique is subsequently used by his son Wang Fei Hong to defeat another bunch of rascals.
Overall, “Iron Monkey” offers high-energy action that will appeal to hard-core kung fu fans and mixes in enough comedy (including a real cheeky monkey!) and drama to interest those who are looking for a fun and interesting story. The relationship between the physician and his son is the most touching. The fight scenes progress at a rapid clip, each one raising the stakes as the villains become more heinous and harder to defeat. The final showdown between the team of Iron Monkey and Wang Fei Ying versus the Royal Minister as they maneuver amidst bamboo poles perched precariously over a raging fire is spectacular.
Tuesday, October 28, 2008
Tuesday, October 21, 2008
Review: "Mongol" (2007)
“Mongol” fuses compelling drama, a heartbreaking love story and visceral action into a visually stunning historical epic. The introductory piece of a potential trilogy, “Mongol” focuses on the early life of Temudgin, the fierce warrior who would unite all Mongols to become the legendary Genghis Khan.
The narrative traces the early life of Temudgin from his dangerous childhood to the decisive battle that seals his position as the leader of all Mongols. Covering much ground, the film wisely focuses on the two defining relationships of Temudgin’s early years: his love for Borte, his wife and trusted advisor, and his friendship and subsequent conflict with Jamukha, his blood brother and a rival Mongol chieftain.
The love story between Temudgin and Borte is one of the highlights of the film, with an emotional resonance comparable to “Dr. Zhivago”. The tender bond between the two is palpable and we instinctively know that their forced separations will drive them to desperate actions. It is to director Sergei Bodrov’s credit that he allows the viewer time to appreciate the tender moments between Temudgin and Borte without feeling the need to rush toward the next battle scene.
The battle scenes themselves are ferocious. The camera slows down and weaves chaotically amongst the fighters making you feel as if you are right there in the midst of battle. Blood flows freely in the stylistic “300” mode. The cinematography is stellar, capturing the desolate and dangerous beauty of the Mongolian landscape. The sense of place and time helps to underscore the film’s epic scale.
The acting is very good overall. Tadanobu Asano captures the stoic yet fiery Temudgin in an understated yet powerful performance. Khulan Chuulun, a Mongolian newcomer, portrays Borte as a spirited and courageous woman. But the powerhouse performance belongs to Honglei Sun whose Jamukha is transformed into a feral, ferocious beast.
The narrative traces the early life of Temudgin from his dangerous childhood to the decisive battle that seals his position as the leader of all Mongols. Covering much ground, the film wisely focuses on the two defining relationships of Temudgin’s early years: his love for Borte, his wife and trusted advisor, and his friendship and subsequent conflict with Jamukha, his blood brother and a rival Mongol chieftain.
The love story between Temudgin and Borte is one of the highlights of the film, with an emotional resonance comparable to “Dr. Zhivago”. The tender bond between the two is palpable and we instinctively know that their forced separations will drive them to desperate actions. It is to director Sergei Bodrov’s credit that he allows the viewer time to appreciate the tender moments between Temudgin and Borte without feeling the need to rush toward the next battle scene.
The battle scenes themselves are ferocious. The camera slows down and weaves chaotically amongst the fighters making you feel as if you are right there in the midst of battle. Blood flows freely in the stylistic “300” mode. The cinematography is stellar, capturing the desolate and dangerous beauty of the Mongolian landscape. The sense of place and time helps to underscore the film’s epic scale.
The acting is very good overall. Tadanobu Asano captures the stoic yet fiery Temudgin in an understated yet powerful performance. Khulan Chuulun, a Mongolian newcomer, portrays Borte as a spirited and courageous woman. But the powerhouse performance belongs to Honglei Sun whose Jamukha is transformed into a feral, ferocious beast.
Saturday, October 18, 2008
Review: "CJ7" (2008)
This is a refreshing little gem of a flick that melds Stephen Chow’s knack for slapstick comedy with an ET-like story about a poor Chinese boy and an alien. The result is a quirky, delightful family film with plenty of heart and lessons to be learned.
The story revolves around Dicky Chow, a very poor boy whose father Ti, a construction worker, toils day and night so that his son can attend an elite private school. Dicky is bullied at school by rich kids and haughty teachers alike for his smudge marked face, tattered clothes and stubborn pride.
While the school bullies flaunt their high-tech toys, Dicky’s father combs through the local garbage dump at night gathering discarded “treasures” for his son. One night he unknowingly disturbs an alien spaceship that flies away, leaving behind a small, shiny green orb. He brings it home for Dicky to play with and soon enough the toy transforms into a cute, furry dog-like alien that Dicky names “CJ7” (after a toy called CJ1 that is popular among the school kids).
There ensue some very funny moments as Dicky fantasizes about harnessing CJ7’s superpowers to excel in schoolwork and sports class. Although he soon realizes that CJ7 does not possess the powers he imagines, his schoolmates are quite impressed by the toy and his stock is on the rise until his father is involved in an accident at work.
What keeps this movie grounded is the warm rapport between Dicky and Ti despite their bleak circumstances and the talented cast of child actors. Jiao Xu, the actress (!) who plays Dicky, is fantastic. She gives a well-rounded and nuanced performance, portraying Dicky as both rebellious yet optimistic.
Although CJ7 offers an assortment of messages for children, it does so in a light-hearted, hopeful manner. On the one hand, it demonstrates that there is no shame in poverty and that integrity and family bonds are more important than material possessions and class status. While this message seems uniquely tailored to modern China as it struggles with the growing divide between rich and poor, the lessons are equally relevant to anyone feeling numbed by an increasingly consumerist culture. On another level, it also illustrates the dark side of the adage “be careful what you wish for”.
The story revolves around Dicky Chow, a very poor boy whose father Ti, a construction worker, toils day and night so that his son can attend an elite private school. Dicky is bullied at school by rich kids and haughty teachers alike for his smudge marked face, tattered clothes and stubborn pride.
While the school bullies flaunt their high-tech toys, Dicky’s father combs through the local garbage dump at night gathering discarded “treasures” for his son. One night he unknowingly disturbs an alien spaceship that flies away, leaving behind a small, shiny green orb. He brings it home for Dicky to play with and soon enough the toy transforms into a cute, furry dog-like alien that Dicky names “CJ7” (after a toy called CJ1 that is popular among the school kids).
There ensue some very funny moments as Dicky fantasizes about harnessing CJ7’s superpowers to excel in schoolwork and sports class. Although he soon realizes that CJ7 does not possess the powers he imagines, his schoolmates are quite impressed by the toy and his stock is on the rise until his father is involved in an accident at work.
What keeps this movie grounded is the warm rapport between Dicky and Ti despite their bleak circumstances and the talented cast of child actors. Jiao Xu, the actress (!) who plays Dicky, is fantastic. She gives a well-rounded and nuanced performance, portraying Dicky as both rebellious yet optimistic.
Although CJ7 offers an assortment of messages for children, it does so in a light-hearted, hopeful manner. On the one hand, it demonstrates that there is no shame in poverty and that integrity and family bonds are more important than material possessions and class status. While this message seems uniquely tailored to modern China as it struggles with the growing divide between rich and poor, the lessons are equally relevant to anyone feeling numbed by an increasingly consumerist culture. On another level, it also illustrates the dark side of the adage “be careful what you wish for”.
Saturday, October 11, 2008
Review: "Tony Takitani" (2004)
Adapted from a short story by Haruki Murakami, "Tony Takitani" is a visual meditation on the pain of loneliness and the ways in which humans struggle to fill its void. Unfolding as a series of images punctuated with haunting voice-over narration and a mournful piano score, the film succeeds as pure poetry by evoking a deeply melancholic mood.
The camera moves quietly, steadily, from left to right slowly propelling us on a journey through the life of Tony Takitani, a solitary man whose life revolves around his work as a technical illustrator. His isolation is transformed when he meets Eiko, a vibrant younger women who floats into his life as if from another world. He is captivated by her clothes: "she wore her clothes naturally, as though enveloped by a special breeze" says the film's narrator. As he becomes more alive in her presence and begins to fall in love, we sense his growing dependency on her to fill an emptiness he had never before noticed. When Eiko confides to him that "clothes fill up what's missing inside of me" we recognize a similar dependency. They marry, begin to build a life together but tragedy ensues when Tony tries to address his wife's growing obsession with clothes.
"Loneliness is like a prison" says the film's narrator. In the end, it is an apt metaphor. The absurdity, which this film highlights so eloquently, is that these prisons are largely self-constructed. By denying our need for human connection, avoiding any possibility of pain as well as joy, we are no more than prisoners isolated in our cells.
The camera moves quietly, steadily, from left to right slowly propelling us on a journey through the life of Tony Takitani, a solitary man whose life revolves around his work as a technical illustrator. His isolation is transformed when he meets Eiko, a vibrant younger women who floats into his life as if from another world. He is captivated by her clothes: "she wore her clothes naturally, as though enveloped by a special breeze" says the film's narrator. As he becomes more alive in her presence and begins to fall in love, we sense his growing dependency on her to fill an emptiness he had never before noticed. When Eiko confides to him that "clothes fill up what's missing inside of me" we recognize a similar dependency. They marry, begin to build a life together but tragedy ensues when Tony tries to address his wife's growing obsession with clothes.
"Loneliness is like a prison" says the film's narrator. In the end, it is an apt metaphor. The absurdity, which this film highlights so eloquently, is that these prisons are largely self-constructed. By denying our need for human connection, avoiding any possibility of pain as well as joy, we are no more than prisoners isolated in our cells.
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