"People cannot live alone. You need comrades."

Fermat’s Cuisine combined mathematics and French cuisine for an entertaining drama though one with a rather narrow view of success for most of the episodes. I could tell it was based on a manga from the male lead who was overly enthusiastic both emotionally and physically while everyone else played it cool.

“Less than perfect is meaningless.”
High school student Gaku gives up on math competitions when he realizes his skills are not extraordinary despite how much he loves mathematics. While Gaku is making lunch at a diner, Chef Kai jumps the counter to taste the food he’s prepared for the staff out of leftovers. Kai hires Gaku to work at his two-star Michelin French restaurant and pushes him to use his math to excel at cooking. The other chefs do not welcome the new favorite as they’ve seen many supporting characters come and go. Kai wants Gaku to become peerless and as isolated as he is, a problem for Gaku who has a tendency to draw out people and their strengths. Kai is hiding a secret that might push all of the chefs over the edge.

“Those who aren’t superior are the evil of this world.”
The concept of the drama was pushing the limits of believability. Kai hired the best chefs from around the world and used only the best ingredients. He spent more than he made and relied on special patrons to supplement the restaurant’s income. It was also difficult to hear over and over again that in order to be successful you had to be the best and be able to open the door to truth or else it wasn’t worth trying. If you couldn’t be the smartest mathematician, time to quit. If there was a chef better than you, time to hang up your apron or at the very least, go to work for that chef. Being the best meant being alone. Gaku was almost destroyed by the push to become “peerless,” as if that was some noble cause. In reality it probably rings true, but there so were so many big egos in the battlefield of the kitchen there was barely room for the pots and pans.

“The higher we reach, the more alone we become.”
Aside from the delicious looking meals the chefs whipped up, and there were many, the strength of this drama was the journey the Japanese chefs took to develop as individuals and as cooks. The international chefs were left in the background for the most part. Gaku, Kai, Ranna, Hotei, and Magoroku all had character growth, learning about themselves and how to collaborate and work with others. Their relationships were a rollercoaster ride of distrust, becoming comrades, distrust, and comrades again. The acting was a bit of a rollercoaster ride with some stronger performances and some weaker ones. I found it interesting that as much as Kai preached “The peerless have no one,” that he had enormous financial support. Most restaurants have narrow profit margins and somehow he was able to keep his open through the help of friends.

“Do what you love.”
Despite some of the over-the-top acting and relentless creative arrogance, I enjoyed this drama. Watching people make delicious dishes, even Naporitan/Napolitan with ketchup, is always fascinating to me. The camaraderie that developed between the kitchen staff was heartwarming as well as the road to bromance and culinary enlightenment. So, lettuce celebrate friendship, food, and math, but have a snack nearby because this drama will make you souper hungry.

1 June 2024

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The Snake, the Tiger, the Crane and the Flamingo?

Despite the title of the movie, Emperor of Shaolin Kung Fu, this was Nancy Yen’s movie as the 3rd Princess and sole royal survivor when rebels overthrew the emperor of the Ming Dynasty. Wang Hsieh played the usurper, Li Tzu Cheng, and the target of the princess’ ire and revenge.

As Li Tzu Cheng and his army storm the palace, the emperor orders his family to kill themselves. His 3rd daughter argues that her father needs to live to fight another day. In response to her plea, he swipes his sword at her cutting her arm off in the process. 3rd Princess escapes to a Buddhist temple where she heals and regroups. She sets out to bring Li down, finding warriors loyal to the monarchy and traitors along the way.

Nancy Yen was believable as the one-armed princess seeking the death of Li Tzu Cheng (Li Zi Cheng). Unfortunately, 3rd Princess tended to take on Li and his fighters with only one fighter each time she attacked which was always doomed to failure. There was a rather lengthy section of her either acting or having gone mad which dragged on too long. The rebels finally had their chance when Wu Sangui and his army drove Li out. The princess and those loyal to the monarchy confronted the vicious Li Tzu Cheng but only at great cost.

Lo Lieh made an appearance as a wandering warrior who joined her. I’m of the belief Lo makes everything he’s in better, even in a sparkly blue costume. Dean Shek showed up as a deadly scholar. And finally, Carter Wong arrived in the last 30 minutes, as a butcher and fighter devoted to his mother. The fights were okay. Most were sword fights, until Carter’s last fight where he used a variety of styles. Each style had a quick glimpse of the animal the style mimicked. The crane looked suspiciously like a pink flamingo which was hilarious. Wang Hsieh in another of the truly awful wigs he was known for wearing once again played the villain with his typical glee. The sides were badly cropped in the print I saw which cut out much of the action.

Emperor of Shaolin Kung Fu aka The Snake, The Tiger, The Crane aka Lord Chuang, Li Tzu Cheng wasn’t great but was watchable due to the actors involved. Nancy Yen made a fierce, vengeful princess who would ultimately become the legendary One-Armed Nun. She was joined by familiar faces with enough action to keep it from becoming too boring. If you enjoy old kung fu films and don’t mind one that has degraded some, this 1980 Taiwanese flick might be one to try.

23 May 2024

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"There's no such thing as easy anywhere these days"

Dokkoi Ikiteru aka I Still Live was a painful look at the most vulnerable in Japan post WWII. Director Imai Tadashi who dove into socially conscious movies after the war, made this film outside of the major studios. I will admit to only grasping the large parts of the film as the only available copy I could find used auto-generated English subtitles which were lacking to say the least. Until such time as someone who watches this who speaks Japanese or there is an adequate translation, I’ll leave a quick review for those who might be interested in this film.

The film centers on a Japanese family of four. They initially live in a small shantytown but are forced to move out when it is torn down. The father rises early every morning to apply for day laborer jobs along with crowds of desperate people. It is a daily struggle to earn enough money to eat and supply shelter. Many of the places where the father works amongst the rubble and ruins had been hit hard by the air raids during the war. At one point in time, the mother and two children take the train out of town. At first it looks like the father may find a manufacturing job and his luck will turn for the better, but alas, not in this melodrama. Everything goes from bad to worse, some of the injuries self-inflicted, until he reaches the point when he thinks they would be better off dead. A precipitous action will determine the course he takes.

While this film highlighted a desperate time for many after the war and has value in edification of its historical setting, I found the film to be too deliberately maudlin for me. The music was heavy-handed and overwrought as the little family suffered misfortune after misfortune. Yet the performances were strong and again, it covered an important subject, though at times it did feel more educational in nature. If you enjoy older films and especially ones set in this difficult time in Japan’s recovery, this would be a film to try.

14 May 2024

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"Nobody in this country follows the rules"

Barking Dogs Never Bite was a dark comedy that darkly commented on social inequalities and inadequacies. While director Bong Joon Ho cast his view on numerous topics, the result was rough and flat instead of subtle and biting. More of a scattershot approach than guided missile.

Yoon Joo hears once again why he has been passed over for making professor, made worse by the barking of a dog in the background. He thinks he’s tracked down the culprit, grabs it, and ultimately locks it in a wardrobe in the basement. Hyun Nam works in the building and helps a little girl put up signs for the missing pup. At this point different characters become involved with the four-legged dwellers in the crowded apartment building, most of which have ulterior motives for the pets.

Though the movie clearly stated no animals were harmed during filming, there was some rough treatment. Dog lovers may have trouble with a few of these scenes. The antipathy Yoon Joo felt toward the pampered animals and their doting owners turned out to be more than what he observed. He thought his life was tougher than others, but as it became apparent, his actions led to agonizing pain for the pet owners with devastating consequences for one.

Billed as a dark comedy, I only found two scenes funny and both involved the talented Bae Doo Na. This story played out like a sinister slice of life with few repercussions for bad behavior. Hyun Nam’s unending search for affirmation had its own strange results. I thoroughly enjoyed the close friendship between her and Jang Mi, the complete antithesis of Yoon Joo’s toxic marriage.

The laundry list of social grievances were thrown out on the screen continuously. Suffice to say, the director had complaints he wanted to get off his chest. Class distinctions. People don’t follow the rules. People embezzle money and make shoddy, dangerous buildings. Pregnant employees are treated terribly. School deans have to be bribed for job openings. Humanities professors make the worst husbands. Women with children are vulnerable when husbands leave. For a homeless person being arrested is a blessing because at least there are regular meals. Some drinking culture situations turn deadly. Gender inequalities. Abusive, loveless relationships. Dangerous pesticides thickly sprayed in the air. Exit doors and stairwells blocked by junk creating hazardous situations. People supplementing their diets with dead pets. People fired for caring too much about others. At least later in his career, Bong would grab a singular social criticism by the neck and devour it with satire and venom.

Fans of Bong Joon Ho will most likely see deeper into this film than I did and enjoy it more. I wouldn’t want to deter anyone from trying this film by the famed director. What it boiled down to was Yoon Joo and Hyun Nam were unhappy with their situations and unsure how to make things better or even if they could, given the employment climate and chose inverse approaches. Yoon Joo took the villain role and went to the dark side. Hyun Nam desired to be a hero and though her results weren’t glorious, she and her friend chose to live in the light come what may. The majority of other characters resided somewhere in the gray areas, just trying to make it through their days.

13 May 2024

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"It's ridiculous!"

Director Mizoguchi Kenji threw me for a loop with The Lady of Musashino. Unhappy marriages, infidelity, and premarital sex abounded in this postwar film. The main couple exemplified the changing lifestyles and social norms being explored as Japan tried to find its footing after everything came tumbling down. Michiko was as traditional in her morals as her husband was laissez faire regarding his.

After fleeing Tokyo during the bombing, Michiko and Tadao go to live with her parents. Her family comes from a long line of samurai and the property has been in the family for ages. After her parents die, Michiko inherits it. Three years after the war, her cousin Tsutomu finally arrives home after having spent time in a Singapore POW camp. Tadao is a professor who believes that infidelity is an expression of free will and proceeds to live out that philosophy. He encourages Tsutomu to live in town while attending university so that he can enjoy as much sex as possible. Michiko’s cousin Ono and his wife Tomiko have their own open ideas about marriage fidelity as well. Both Michiko and Tsutomu have a love for Musashino which develops into feelings for each other. Will Michiko’s rigid morality stay in place in the face of handsome Tsutomu’s advances?

Mizoguchi at first seemed to be conveying the idea that women were treated unfairly in marriage and divorce. Tadao was thoroughly reprehensible even as he lauded the new law being passed that would no longer make it a crime for women to commit adultery, men could continue to do whatever they wanted as always. It was difficult to be invested in this story as most of the characters were selfish and unlikeable. Even Michiko’s noble idiocy began to wear thin. Tadao made a mockery of their marriage and her and even tried to leave her homeless yet she still made excuses for him. While it was true that women could become boxed into a corner with few exits, Michiko could only see one due to her narrow views. Like me, love-stricken Tsutomu had trouble understanding her train of thought. When she tried to explain why they couldn’t be together at the moment, “If there are more and more unhappy people, morality will change,” it wasn’t long before Tsutomu replied, “It’s ridiculous!” The moral of the story was pretty convoluted by the end.

What was effective in this film was the camera work. This was a magnificent film to look at even in black and white. Tsumoto’s arrival through the trees and fog was stunning. I would love for it to have been in color in order to bring out all of the hues of the forest and water as Michiko and Tsutomu explored Musashino on several occasions.

Mizoguchi repeatedly stressed how “everyone is running around in a fever with no morals.” The societal anxiety of a postwar Japan was felt in nearly every scene. The decline of traditions represented by the old samurai estate appeared to not only be caused by Western influences but as a reaction to a way of life that led up to the war and during it. Near the end of the war Michiko was given cyanide for the family by the military when she went out to buy their rations. While she thought about taking it, others around her told her how cowardly and ridiculous it was and the same response was given when a family member died “honorably” by taking his life.

The Lady of Musashino was an uneven melodrama and criticism of changing mores. The memory of the “simple, green, beautiful” Musashino that had helped Tsumotu endure while being a prisoner was fading as quickly as the old way of life. Faithful Michiko arduously clung to the traditions of the past and paid a terrible price for her stubborn morality and sense of duty.

29 April 2024

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"I won't go anywhere without you"

Circle was a 2017 Sci-Fi drama focused on the lives of a set of twin boys/men with each episode split into two parts. The first half was set in the then present of 2017 and the second half in 2037. This structure doesn’t always work with different actors playing the same characters in different times as too often I become invested in one story and not the other. However, I found this format quite effective for this suspenseful drama. In fact, they even go back 10 years to when the twins were young boys in several episodes and that worked as well.

Twins Woo Jin and Beom Gyun have a close encounter of the third kind one night along with their father. When their father seemingly abandons them, the boys handle the loss differently. Beom Gyun acts out and ends up serving time in a psychiatric hospital and later, jail. Woo Jin studies hard at university and labors to take care of his grandmother who lives in a nursing home. When students on campus begin committing suicide, both boys will become embroiled in a sinister plot neither was prepared for. In 2037 Kim Joon Hyuk is a detective at the Gangnam police department. The air quality has deteriorated significantly and personal oxygen devices are necessary at times. Seoul has lost 50% of its population. In a separate area lies a secured population living in what is called Smart Earth where there is no crime and the wealthy live easier lives. The only price is that everyone must have a chip installed behind their ear that regulates their emotions, and possibly more. When the first murder occurs after 5000 days without a crime, Joon Hyuk goes to investigate and discovers the case may link him to his past.

While there were times the production values appeared low, I didn’t mind. A compelling story that drew me in with interesting characters covered over several plot holes and some poor direction choices. I wasn’t tempted to fast forward or skip about. The brothers’ ordeals and devotion to each other touched me. Both timelines had value and neither ran out of steam until the worlds finally collided. While there were some romantic feelings between the twins and the young women in their lives, there weren’t any real romances, a bit of relief for this drama.

Circle only reinforced my belief that South Korea has the best child actors. The two boys who played Woo Jin and Beom Gyun as children were charming and emotionally engaging to watch. I have a soft spot for Yeo Jin Goo and he was lovely as the devoted brother Woo Jin. I was not familiar with Kim Kang Woo and enjoyed his emotional turn at Joon Hyuk. Gong Seung Yeon as the enigmatic hacker Han Jung Yeon did a good job as well. Some of the supporting cast was not as strong.

It’s been a long time since I’ve enjoyed a Kdrama this much. Most have been forgettable in recent years. Instead of throwing pretty people and an encyclopedia of tropes at the screen hoping something would stick, Circle’s writers crafted an entertaining drama that came, well, full circle. I will remember this drama and may go back and visit it again.

27 April 2024

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"You look familiar"

White Butterfly Killer falls deeply into the woman wronged revenge kung fu flick genre. Hsu Feng played the woman who had survived the death of her grandfather and sexual assault by a gang of bandits. After six long years she finally comes face to face with them and prepares to take them out one by one.

The White Butterfly owns an inn on the Leopard Mountain where all sorts of ruffians hang out. She and her girls who are trained in kung fu serve the customers and take down any men who cause trouble in her place. One evening a familiar face walks in. She recognizes him as one of the gang members who assaulted her and killed her grandfather. The White Butterfly enlists her trusted sidekicks to help her destroy the gang that set her life on a new course. In that gang, is one man who had helped her escape. Would he help her again or bring about her death?

White Butterfly Killer was a low budget Taiwanese movie. Much of the filming took place on a rundown location and a dusty road which lent an old west feel to it. The setting would alternate between day and night depending on who was on screen. The film opened with a fight between two factions that ended up at her inn as she took in a wounded inspector. This was never really brought up again. An inspector might have been pertinent with a band of vile outlaws staying under the same roof, but there you go. Somewhere through the years the sides have been cropped off the film which always makes the action concentrated in the center.

Hsu Feng may not have been a martial artist but kept up with the men she fought quite well. Her fighting was no worse than many of the extras with the choreography provided and her acting was stronger than some of the women in kung fu movies at the time. The “good” guy in the gang played by Kou Feng was a strange character. He hated some of the things the gang did but owed his life to the leader, his adoptive father. He encouraged Hsu’s character to just leave everything in the past. “Those who kill, will be killed.” Somehow that line is almost never used on men seeking justice/revenge for wrongs. And the ending drove that point home in case women didn’t catch it. Had it not been for the downer of an ending I might have rated this slightly higher.

The White Butterfly’s philosophy reminded me of the lyrics to The (Dixie) Chick’s song---
“I’m not ready to make nice. I’m not ready to back down.
I'm still mad as hell, and I don't have time to go 'round and 'round and 'round
It's too late to make it right, I probably wouldn't if I could
'Cause I'm mad as hell, can't bring myself to do what it is you think I should”

24 April 2024

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Frothy buddy assassin movie

Hitman was a light-hearted assassin movie with a high body count. A strange combination, but it worked for the most part. Jet Li was in his prime and though there was wire-work, there was also plenty of fast kung fu action.

Fu is working for a low rent gangster and applying for hitman work. The only problem? He has too kind a heart. But he’s also desperate for money. When he hears about a job that will pay handsomely for hunting down a wealthy man’s assassin, he attends the funeral of the shady Japanese businessman hoping to get hired. Petty conman Nor Lo sees Fu in action when he disables security at the funeral and takes him on as a client. Also at the funeral is Eiji, the dead man’s grandson. We know Eiji is dangerous because he usurps control of the company when he eats grandpa’s ashes in front of his father. He wants revenge and the reward. A who’s who of scuzzbag assassins are all on the hunt for the King of Killers and willing to eliminate anyone who might beat them to the prize.

Much of the acting was average. The story had some holes to the murder mystery and identity of the King of Killers. The momentum would occasionally fizzle out. The writers ham fistedly threw in an adult daughter, played by Gigi Leung, to humanize the selfish Nor Lo and maybe for a hint of romance for Fu. Even with the limitations, Jet Li and Eric Tsang had a nice buddy hitman vibe. Sato Keiji as Eiji provided the ruthless opposition for the duo despite his motivations being nebulous. Simon Yam as Officer Chan played the mysterious officer with a twinkle in his eye. Kim Yip had the pivotal role as the greedy but somewhat even-handed revenge fund officer.

With well-choreographed action and Jet Li in his prime, the fights were quite entertaining. Fu had a fight with a grenade carrying priest and a giant with disorienting laser rings all while trying to safely wheel an old man out of an apartment complex (if only we had a wheelbarrow!). An elevator fight was also exciting as well as the finale when a surprise guest showed up.

Hitman showcased a hitman that would rather be playing with children, had light comedy that didn’t veer into slapstick, heartwarming moments, and a few exhilarating fights. Nothing too memorable but not a bad way to spend 90 minutes if you are a Jet Li fan or need a break from darker martial arts flicks.

16 March 2024

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In the Line of Duty 4 kept the action rolling from beginning to end. Cynthia Khan returned for the fourth installment of the franchise made popular by Michelle Yeoh. Khan was joined by Donnie Yen, Yuen Yat Choh, and Michael Wong.

Luk Wan Ting is a dock worker in Seattle. A mortally wounded police officer hands him a roll of film before he dies. Now Luk is being hunted by the bad guys and considered a cop killer by the good guys. Inspector Rachel Yeung doesn’t think he’s guilty though Capt. Donnie Yan is less flexible. CIA officer Michael Wong is determined to have Luk extradited to Hong Kong. The attacks on Luk are non-stop for a nice guy who just wants to see his mom and be done with all of the cloak and dagger danger and trickery. Rachel has to figure out how to keep him alive and who is the mole betraying them at every turn.

This entry in the franchise is one of my favorites. Khan and Yen had an appealing chemistry in their push-pull professional relationship that thankfully didn’t veer off into romance. For the most part there was no idiotic comic relief character which was a huge relief for me as well. Yuen Yat Choh, in what became his final movie, was a sympathetic character who was dedicated to his mother. Michael Wong’s performance as the duplicitous CIA agent wasn’t particularly strong.

What made this movie entertaining for me, aside from the acting rapport, were the numerous well-choreographed fights. Yuen Woo Ping and his brother Shun Yee resisted the wire-fu for the most part and relied on their actors’ athletic abilities and flexibility. Cynthia moved believably against the various foes she faced and delivered some punishing kicks. A young Donnie Yen had no problem reaching kicking heights all by himself. And Yat Choh was another of the Yuen clan who knew how to sell a fight. No wires didn’t mean characters weren’t left dangling on several occasions or even falling to their deaths. Gravity is a harsh mistress. Cynthia had an exhilarating ordeal on top of, on the sides of, and on the grill of an ambulance. Donnie faced real life martial artist Michael Woods in a brutal fight on a rooftop and jousting on motorcycles with ax and shovel.

The story had some narrative gaps and not all of the acting was strong, but for the most part the story held together by the relationships of the characters. The fights were fast, exciting and creative, all that any martial arts movie enthusiast could want.

14 March 2024

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"I'm old, but I'm not dead yet!"

The Comeback is an old school violent film with old school actors. Even the young guy, Andy On, was pushing 50! Best not to look too closely at the uneven script and just enjoy it for the mindless action film it was.

Mr. Hua runs an antique shop on an old street and takes care of everyone. He’s especially close to Sister Zhen who works at the orphanage and one of her charges, Xiaoye. Officer Qiang looks up to him and has his back whenever he needs it. Hua dutifully brings homeless Old Cao who lives in his vehicle food every day. A gang wants to demolish the street for developers and has been intimidating people into signing away their property. But these guys are pesky demons compared to the devils coming to town. Hua who has suffered from amnesia the last three years has forgotten his previous profession and the reason he has 21 scars on his body and a nail in his brain. The bad guys are going to be in trouble when he remembers his particular skill set.

The story took too long to gain traction, especially since the audience already knew what caused Hua’s amnesia. The gang who wanted to demolish the neighborhood wasn’t set up very well either. Suddenly, the big bads arrived, relegating the gang to the back burner as they began kicking up the body count in search of a USB. Numerous cops moved in on Officer Qiang’s territory convinced Hua was the prime suspect for something and then everything. Because of the amnesia trope there were also numerous flashbacks. A simple story was made more complicated than it needed to be. Regardless, Simon Yam and Yuen Wah working together was a delight. Simon at 68 and Yuen at 73 showed how old school charisma can cover over a multitude of sins. Sixty-eight-year-old Norman Chu also made an appearance. Andy On conveyed enough menace to be a proper traitorous villain.

The Comeback provided plenty of things that go bang in the night---weaponized drones, guns, bombs, missiles, and a weaponized motorcycle. I was happy to see Yuen Wah have a short fight scene. He was one of the more skilled martial arts experts in old kung fu films. They worked around Simon’s age in a couple of different ways during his hand-to-hand encounters which worked fairly well.

As uneven as the writing was, The Comeback was entertaining and had some heart. It didn’t offer anything unique but it served up a heaping helping of action scenes showcasing older actors aging to perfection.

12 March 2024

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"Everything comes with a price"

Soul of the Sword is one of those films that did not appeal to me on several levels. Ti Lung was at the height of his career as the Nameless swordsman whose only desire was to kill The King of Swords and take his place. The problem being none of the characters were likeable and my only desire was that they would all meet a gruesome death.

A young boy sees a man and a woman being carried out of the prince’s palace to be buried. The King of Swords had killed the young swordsman and his lover had killed herself. The boy determined that one day he would be a great swordsman and claim the title. Ten years in the future he proceeds to cut down other swordsmen, monks, swordswomen, anyone with a title on his way to the palace. After fighting his way through the royal guards, the prince tells Nameless that Lu Tien Kang is out of town but that he can fight him when he returns. Nameless keeps seeing visions of the young woman who killed herself. He also makes friends with an amiable old doctor. When Nameless sees a woman who looks like the woman in his visions, he determines to have her, with or without her consent. This upsets Mr. Yan who loves He Lian. While waiting for Lu, Nameless is challenged by numerous fighters, most are killed except for those willing to slink away.

Nameless was no hero or even anti-hero. He was amoral, a rapist, and a murderer. The fact the writers mansplained the rape away only made it worse. Ku Feng made the doctor Zhao Yi a wise friend to have until his dark intentions were revealed. Ku is one of my favorite character actors from kung fu movies and he helped make this movie a little easier to swallow. The dialogue often praised reprehensible behavior as something to be admired because of the dedication to one’s self and skill. Everyone took for granted that cutting your way to the top was an honorable pursuit. During and after some fights there were plenty of gratuitous bare breasts and sex as a weapon scenes.

Fight choreographer Tang Chia’s sword fights were good for the time. Nothing was too fast, but came across fairly fluid. I usually enjoy watching Ti Lung in battle mode but Nameless was a despicable character and I waited for him to get his comeuppance. Even then the lesson Nameless learned was still all about himself despite the horrific harm he caused.

“Will you regret that what you lost is actually more than what you gained?”

The film may have had nice sets, costumes, and a strong cast, but it lacked heart. Instead of finding the fight scenes exhilarating, they left me cold. Yes, there was the lonely lesson about cold steel having no mercy and that those who lived by the sword had to be utterly ruthless and prepared to die by the sword and could afford no emotional baggage. That violence and self-centeredness bled over into other aspects of their lives. Which left the movie with just a bunch of vicious killers leaving bodies in their wake. The sharpest weapon to pierce Nameless was when he learned the old adage, “Be careful what you wish for, you might just get it.”

12 March 2024

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"You have a lot of courage to show up here!"

The Vengeful Beauty was a surprisingly entertaining martial arts film from 1978. Shaw Brothers movies could go either way during this time frame. Chen Ping more than held her own with the boys—Lo Lieh, Yueh Hua, Norman Chu, and Johnny Wang. Her character was pregnant and she still suffered no fools with a sword!

Emperor Yong Zheng pretended to be a friend to the people all the while he was having ethical officials executed by the Flying Guillotines. And in a clear sign of tyranny, he orchestrated book burnings and the executions of anyone who wrote anything remotely critical about the imperial court. Rong Qiu Yan’s husband ran afoul of the emperor and while she was away honoring her deceased martial arts master with her junior, Wang Jun, Jin Gang Feng sent the Flying Guillotines to her house and eliminated everyone. On the run to protect the child she was carrying she came across Ma Sen working at an inn. Brother Ma was also on the run as he had been a Flying Guillotine but could no longer stomach the murder of innocents. He joined her as well as Wang Jun when Jin sent his lethal children after them.

Qiu Yan was smart and could take care of herself. Chen Ping brought a nice depth of emotion to the vengeful and pregnant heroine battling assassins. After one bit part in the original Guillotine film and his scenes cut in the second, it was good to see Norman Chu in a leading role as an ex-Flying Guillotine. He had to endure an atrocious wig in order to do it though. I almost didn’t recognize him because he looked so young—no wonder, he was only 23 at the time! Lo Lieh in a gray wig played the leader of the Flying Guillotines. He gave a strong performance as a father whose children were eliminated one by one.

The sword fighting was average for the time frame, a lot of swipe and falls, but still fun to watch. The flying guillotine, one of the strangest of kung fu weapons, made a couple of appearances in this a loose sequel. There was some wire work and reverse filming, nothing over the top and edited fairly seamlessly into the fight scenes. One fight included a topless Susan Yam Yam Shaw which weirdly didn’t feel too gratuitous. There was also a battle high in the bamboo long before Crouching Tiger, Hidden Dragon and The House of Flying Daggers.

The Vengeful Beauty benefited from a well written story by Szeto On. There was no shortage of vengeance and deaths, yet this story didn’t feel like it was hastily sewn together with tropes from a hundred other kung fu films. Most importantly to me, Szeto let the heroine struggle and shine. Qiu Yan was fierce and vulnerable. Kung fu movies would soon be taken over by mostly male casts, so every competent female warrior feels like finding a gem.

7 March 2024

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"Life is like that"

Tokyo Story is a quintessentially Ozu film. The story about the dissolution of a family was emotional without being dramatic. Every frame was composed with the utmost care as if evoking a painting. Shot from the mat, the camera never moved, only the people, drawing the viewer in for an intimate window into this troubled family’s life.

“Be a good son while your parents are alive. None can serve his parents beyond the grave.”
Retired couple, Shukichi and Tomi, make the long, arduous trip from their southern fishing village to Tokyo to visit their children. Due to the distance it has been years since they’ve seen each other. Instead of greeting their parents/grandparents with open arms, everyone seems put out that their lives and households are being disrupted. Shige, the eldest daughter, pawns them off on the couple’s widowed daughter-in-law, Noriko. Unlike their flesh and blood children, Noriko takes the day off and shows them the town, treating them with great care and respect. Afterwards, Shige and her brother Koichi, pool their money and send their parents to a seaside spa. The spa ends up being a loud hangout for young people causing the elderly couple to return to Shige’s the next day. She’s upset that they returned early because she has a party planned leaving the couple literally out on a curb. Noriko takes in her mother-in-law while Shukichi has a reunion with old friends and goes out drinking and reminiscing. Realizing they are a burden on their children, the couple boards the train the next day to go home. They are able to see their middle son who works at the Osaka railroad when Tomi becomes ill on the train and has to disembark there. Satisfied they have seen all of their children for possibly the last time, the parents state that their children may not have lived up to their expectations, but they are better than most leaving them satisfied.

“To lose one’s children is hard, but living with them isn’t easy either.”
Ozu never truly goes into why the children are not only distant but disrespectful as well. The father drank heavily when they were younger, whether that caused a lingering anger he wasn’t telling. Despite Noriko being a dutiful daughter-in-law and widow, her short marriage to Shoji eight years ago was a difficult one for he also drank heavily. Shige grated from beginning to end, always finding fault, never giving an inch. When her husband brings home expensive cakes for her parents, she scolds him that the delicacies are too good for them and then eats the cakes herself! Yet Ozu and the characters simply accept her as she is, never calling her out for her rude behavior. It is what it is.

“Isn’t life disappointing?”
The grown children’s lives are busy as they hustle to make a living in a town with too many people after the war striving for the same thing. Their children reflect the same attitude as their parents, they are rude and disinterested as well. Every generation of the family is disintegrating, held together by memories and tenuous traditions. The father states, “Life is like that.” Death happens. People forget. People move on. Relationships are always in a state of constant flux as people change, suffer, succeed, fail, grow older. Families, like marriages, require emotional upkeep to stay together and relevant, something this family has neglected. Life was also taken for granted, the thought that their parents would always be around. When death visits, the children still can only think of themselves and their lives with only Noriko going out of her way to help. Stay busy, stay moving, and you don’t have to think about the difficult things in life.


“Isn’t life too short?”
Tokyo Story is one of Ozu’s more beautifully shot films, and one that took the viewer beyond a small world. From the parents’ fishing village to Tokyo, we’re taken along with the parents to discover new sights. The music is subtle, just like Ozu, perfectly setting the tone when used. School children sang just as the story needed a bolus of hope. Often only the rhythmic sounds of nature were used or mechanical as with a ticking clock when a character realized all he had was time left. Despite the larger world the characters inhabited his meditative rooms and pauses still reigned supreme. Ozu’s beloved train began the film as the parents journeyed on their last trip to see their children and a train ended the film as a character was freed from her guilt and allowed to embrace a new future.

Everyone ages. Relationships change. Children become parents and then grandparents themselves. Life involves death, irrespective of age. Loneliness is a harsh mistress. I hope Ozu’s assessment that life is disappointing and everyone will eventually not only suffer from alienation but also cause it isn’t inevitable.

2 February 2024

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"You've just been taking everything for granted"

Death’s Game at first glance appears to be a simple repudiation of suicide. Death’s thin skin takes it personally when Choi Yi Jae said he wasn't afraid of her and as she says, “You are guilty of coming to find me before I came to find you.” At second or even seventh glance as Choi is doomed to be reincarnated into 12 lives on the cusp of death, a grander scheme begins to reveal itself.

Choi Yi Jae was having a bad week, preceded by a tough seven years. When he made the ill-fated decision to jump from a roof he found out just how bad things could get when he met a disgruntled Death who decided to teach him a lesson by having him reincarnate into 12 different lives at the end of their span. Some of the lives were over in a blink, others were further developed. Each reincarnation showed how other lives were suffering or prematurely cut off. They also showed how his own limited thinking and actions led to fateful outcomes. Choi’s myopic vision never let him see how his actions affected others or the dangers lurking about him. I’m looking forward to his growth as a character in the next four episodes.

I had not perused the cast list and was shocked at how many famous faces appeared in Choi’s different lives. These actors weren’t phoning it in either, they gave performances worthy of their own characters’ dramas. It will be interesting to watch Choi finally begin to pull together the different experiences to comprehend what he needs to learn to save his life and afterlife. He’s going to have to move past being cocky and self-absorbed if he wants to win Death’s Game. He’s finding that “wherever you go, there you are.” And I’m not sure the reason for the game is the one he thinks it is. As Choi and the audience come to see how at least some of the lives are interconnected, the goal posts may be moving in regards to what his motivations will be. Admittedly, a few of the revelations were not shocking and I was waiting on them to finally be shown. There was one that should have been a tear jerker or shocking but when it happened, I burst out laughing in the way it was overplayed. For the most part, the short life experiences were moving and effective.

Death's Game is one of those thrillers that felt more like a shell game. Nothing was quite what it seemed and I don't think the real meaning of the episodes or even his death will be fully understood until the second half plays out in January 2024. I hope the next four episodes are as tightly written and as well acted as the first four.

28 December 2023

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Lady of Steel was the first of two Shaw Brothers films Cheng Pei Pei made in 1970. While Pei Pei shone like a jewel the action and story were rather lackluster.

Fang Ning and Chao Hsiung stop at an inn on their way to delivering one million taels of silver to flood victims. The nefarious bandit Han Shi Xiong not only robs them but murders Fang and his family. Chao manages to escape with the youngest Fang daughter. After he dies in the woods, Priest Xuan Zhen takes Ying Qi in and teaches her martial arts. This was before the invention of the training montage which means Ying Qi ages in a matter of seconds and has also become an accomplished swordswoman. She desires revenge against Han but first she’ll have to deal with the Jins who have invaded. On the way to the Flying Dragon Fortress with her letter of introduction she ends up in a fight with a beggar clan who is threatening Wei Tong Ming. She jumps to his defense not knowing he was in league with Han. This pits her against the Beggar leader until she realizes he is the good guy and Wei is the bad guy. Wei also discovers her secret and tells Han who is now called Cai Yi and is duplicitously working with the righteous leader of the Flying Dragon Fortress! From there Ying Qi must face double crosses, multiple ambushes, and wear several disguises until she finally uncovers the truth and acts on her revenge.

Cheng Pei Pei had the opportunity to show off some of her acting skills as she dealt with treachery and took on several different personas. Yueh Hua was a supporting character who only showed up briefly when Ying Qi needed him. Huang Tsung Hsun and Lee Wan Chung made for devious villains. The standard revenge plot was thin and redundant more often than not. Although there were many fights, for the most part they were rather dull. They used the swipe and fall style of choreography with the assistance of some wire work. Cheng Pei Pei and Yueh Hua had a flirty fight in the beginning. Her fight with Lee Wan Chung during a fireworks display had some colorful flashes as the fireworks wrote out “longevity.” There were a few moments of inventiveness in the finale, but even those times were few.

Through no fault of Cheng Pei Pei’s, Lady of Steel wasn’t bad, it was just the kind of lukewarm film I’ll forget very soon because it didn’t have anything memorable going for it. Her next film, Brothers Five, had well choreographed fights and more charismatic characters if you need a better Pei Pei film to watch.

13 Dec 2023

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