Jet Li: Die Schrift des Todes

I have to disagree with one of the previous reviewers who said that this movie would be ideal for Hong Kong cinema neophytes. I believe that only HK fanatics should even attempt to watch it - the less experienced viewers will probably turn it off after about 30 minutes (it's no wonder that no American distributor picked it up for re-release; it certainly doesn't have the wide appeal of a movie like "Meltdown" / "High Risk"). The idea is ambitious, the production is lavish, but the story is confusing and unengaging, and the result is a film too bizarre and self-indulgent for most audiences. Jet Li once again proves that he can act (in a dual role, no less), but the vast majority of the fighting is over-the-top and (intentionally) unrealistic. There are some memorable moments, however, like his brief encounter with two huge sumo wrestlers! (**)

This movie has an interesting premise (the depiction of and flip-flopping between a writer's fictional life as The King of Adventurers and his "real", problem-ridden -- he is in the middle of a huge writer's block precipitated by marital problems -- life). Although there may appear to be echoes of and borrowings from such American movies as "Romancing the Stone" and "Raiders of the Lost Ark", it turns out to have characteristically Hong Kong elements ("wire fu" fights, cross-dressing, etc. -- all featuring the hero, as played by Jet Li; action -- in one case, whip-wielding -- women) as well as its own attractions (I particularly like the idea of the pen as a real as well as metaphorical weapon). All this having been said, it still seems to lack the extremes of and thus seem surprisingly tame compared to many another Hong Kong movie...which may explain why it is not a particular favorite of many Hong Kong movie fans. On the other hand, for those (relatively) unused to the pace, gore and quick mood changes of so many movies from that part of the world, this would be recommended as a movie which showcases the imagination of Hong Kong movie makers and the ability -- in terms of quality but also range of possibility -- of its actors and actresses.

Jet Li stars as a writer of a series based on the character King of Adventures. When an accident puts him in the hospital, friends try to continue his current storyline for him. Great fun ensues as new twists and turns spring from the different characters adding to the story; including a pair of flying sumo wrestlers (!) and some well done CGI. A change of pace for the usually intense Li that's one of the most enjoyable HK movies of '96.

Jet Li stars as the "King of Adventurers," a novelist who is having marital troubles and takes his feelings to his book that he is writing. The story was pretty interesting, but it was a bit slow paced for me. There were a few interesting fight scenes, especailly with the ninjas and the sumo wrestlers, but they weren't as good as Jet Li's other fights. It's a good rental movie.

DR. WAI IN "THE SCRIPTURE WITH NO WORDS" (Mao Xian Wang)

Aspect ratio: 2.39:1 (Anamorphic)

Sound format: Dolby Digital

A huge disappointment from director Tony Ching (DUEL TO THE DEATH, "A Chinese Ghost Story"), this lumbering would-be spectacular - conceived as a light-hearted riff on the Indiana Jones subgenre - finds paperback author Jet Li ploughing all of his frustrations from a crumbling marriage to Rosamund Kwan into a work of fiction where his brave alter ego (a 1930's soldier of fortune, also played by Li) seeks a magical scripture and is thwarted at every turn by a villainous seductress (also Kwan) and her evil cohorts.

The half-hearted script (by Szeto Cheuk-hon, Sandy Shaw and Lam Wai-lun) lurches from one overblown set-piece to another in search of a worthwhile narrative, combining lackluster comedy and predictable action scenes in a failed attempt at a modern epic. However, the combat sequences - choreographed by Ching himself, aided and abetted by Ma Yuk-sing (CAT AND MOUSE) - are staged with typical cinematic bravado, but the formula is wearing a little thin, and the intrusive comic asides serve only to drain tension from the various confrontations between Good and Evil. Stunningly photographed in an uncredited scope format by veteran cinematographer Tom Lau (DRAGON INN, THE EAST IS RED), the film conjures a vivid period atmosphere, and there's a couple of outstanding set-pieces - including a spectacular train crash; Li's encounter with a couple of Sumo wrestlers (don't ask!); and the final showdown with villain Billy Chow - though the climactic visual effects are poor by western standards. Li and Kwan, reunited from their successful teaming in the ONCE UPON A TIME IN CHINA series, are attractive and lively, while Takeshi Kaneshiro (CHUNG KING EXPRESS) and Charlie Yeung (FALLEN ANGELS) are largely wasted in routine supporting roles.

Plagued by budgetary problems following a disastrous fire which destroyed $HK10 million worth of sets, producers sought to bolster the film's international fortunes by hiring Tsui Hark to direct additional footage for a re-edited export version which drops the modern day sequences and rearranges the narrative in linear fashion. It doesn't help much, but the filmmakers at least deserve points for trying.

(Cantonese dialogue)