Gong woo

Jiang Hu seems to have met with surprisingly negative reviews for a new, all-star very slick gangster movie out of Hong Kong. Not too long, most fans were complaining that HK seemed to have stopped making this type of film altogether (and swearing that if they saw another romcom with Sammi Cheng they'd kill someone) - then we get one of the most interesting gangster films for years and everybody bitches. Go figure :p

Anyway, I thought the film was very enjoyable, with buckets of style and an above-average focus on character development. It suffers in places from trying to be too clever/cool for its own good (the moving table cam near the end was just ridiculous), and there's some awful acting (Chapman To especially), but there was also a lot to like (Jacky and Andy's performances for instance) and I found it compelling and entertaining to watch.

It should be noted that the film apparently ran into some trouble with the censors, and was substantially cut prior to release. There's a bunch of deleted scenes on the 2nd disc in the Mei Ah DVD, but unfortunately without subtitles. There was one particular scene, with Edison Chen and a dog, that isn't listed in the deleted scenes menu. However, if you choose "Play All" and skip to the end, you can see the scene. It's actually very short and I don't think it needed to be cut, and it does significantly hurt the plot development.

Anyway, if you miss the stylish HK gangster films of yore, be sure to check out Jiang Hu. It may not be the best of them, but it's definitely worth your time.

I find this movie to be very cleverly written and directed. IMDb has the wrong names however. Jacky Cheung's character is called Mr. Left not Left Hand and Shawn Yue's characters name is Yik. All that aside, I really liked this movie. It's not your typical triad movie with lots of fighting and no character development. Don't get me wrong there is some action in this movie but unlike most triad movies you actually care what happens to the characters. I loved the dinner scene where Hung and Lefty are talking and the room behind them seems to be moving in an odd fashion, maybe it was a play off their emotions but I thought it looked really cool.

I was a bit surprised by what this movie really was about. Because as you are watching it you think you know exactly what the movie is about and where its going, but the last 15-20 minutes gets you. You realize that you don't really know anything, everything you thought you knew is wrong.

The general consensus among HK cinema followers is that Jiang Hu suffers from this and that, so I expected it to be mediocre. Truth is, it turned out to be the most delightful surprise in many years. Right from the start, the bar scenes are filled with energy and dazzling lighting effects, maximizing the cinematic excitement. The film's retrospective score and set design evoke the old Chinese city which was previous achieved to perfection only by Wong Kar Wai's IN THE MOOD FOR LOVE. Jiang Hu's director seems to have learned more than a few tricks from Kar Wai, from utilizing well-placed retrospective songs to capturing the moment for maximum mood. This is to say, Jiang Hu is an outstanding work of art that captures the essence of triad life-cycle and blood brotherhood.

Watching Jiang Hu is like experiencing the 21th century Chinese update of The Godfather or any number of European and Italian American gangster classics in the 60s/70s. In our jiang hu, Loyalty is at stake. Andy Lau and Jacky Cheung, two of HK's finest, reprise their boss-follower roles from AS TEARS GO BY, complete with Jacky's impulsiveness and Andy's more calm personality. Their pure friendship from years ago is turning pale as Jacky's ambition pull him towards the dark side.

While Jacky favors violence as primary resort, Andy Lau's character is more of a pacifist. I find his peaceful resolution approach representative of Buddhist ideology in some manner. When warned that Jacky may turn against him, Andy responds: "I am not worried. If my death is what it takes to make Jacky realize the meaning of blood brothers, then so be it." Andy has reached the top of the game, where money and fame have lost their meaning. He only wishes to change his old friend for the better before time runs out. But Andy does not shove this idea down Jacky's throat; he shows Jacky the way through demonstrations of sophistication and wit, instead of blood and force. In the end, after leaving his words, Andy walks away from the table. Whether Jacky accepts his invitation to recover their brotherly bonding is up to Jacky.

Some viewers have pointed out the lack of brutality/blood. This ties back to Andy's philosophy that success can be achieved without blood, as he expresses many times in the movie. It is a central theme to the story.

Another criticism is about the two intertwined story lines - some think it's confusing. However, let's not forget this kind of narrative structure is featured prominently in Godfather Part II, considered a classic. In that movie, 2 parallel story lines, involving the present day Michael and previous accounts of Vito Corleone, switch back and forth throughout the movie -- very similar to the style of Jiang Hu. I personally think Jiang Hu's approach is even superior to Coppola's classic, since here the parallelism is much stronger (and perhaps more meaningful).

Jiang Hu is the third masterpiece I saw in 2004 (the other two being GONG FU and 2046), a fairly kind year for HK cinema. The film is a bit showy at times, but above all, Jiang Hu is more than a standard gangster flick; its artistic passion yields a touch of timelessness which I suspect will outendure many genre classics. As I write this review in October 2005, no HK film I have seen this year comes close to exhibiting Jiang Hu's rare quality to honor the integrity of the medium.

TRIAD UNDERWORLD is a little masterpiece of cinema. Though it was made in 2004 it is only now available in this country courtesy of Palisade Tartan Asia Extremes, but the wait was well worth it. Not only is the story (as written by Chi-Long To and Director Ching-Po Wong) mesmerizing through out the film, but the fact that it pulls a Guy de Maupassant-type ending that takes the audience by complete surprise. The aspect that makes this film an art work is the extraordinary creative cinematography by Charlie Lam and Kenny Lam: every frame of film is like a masterpiece of lighting and brilliant use of colors that give clues to the characters and the story - shots taken from beneath a glass floor during a fight, interludes of a near blank black screen except for windows of carefully suggestive color and luminous lighting, extensive use of slow motion photography during the very choreographed fight sequences all contribute to the mood of the Hong Kong underworld in the finest manner. The musical score by Mark Lui also deserves special recognition: often soundless mayhem is accompanied by ballades using both Eastern and Western thematic material.

The story seems rather straightforward: Triad leader Hung Yan-jau (Andy Lau)'s wife gives birth to a baby boy, and event that causes Hung to consider considers leaving the world of the gangsters. Hung's closest lifelong friend Left Hand AKA Lefty (Jacky Cheung) reminds Hung that Hung has always said he would leave the crime world if he had a wife and child. Lefty is more the playboy and both Hung and Lefty own spectacular restaurants. Should Hung decide to leave, taking his wife (Chien-lien Wu) and newborn son to New Zealand then the head of the Triad would pass to Lefty. Despite disagreements the two men stick together, especially when it becomes known that two young members of a rival gang Wing (Shawn Yue) and Turbo (Edison Chen) are out to become the next leaders of Hong Kong's famous 'jiang- hu' underworld and they are ordered by the competitive gang to Triad to kill Hung. There are brutal encounters and balletic street fights that take place outside the seeming quiet elegant restaurant dinner being observed by Hung and Lefty in honor of Hung's newborn boy. And at the denouement the roles of all concerned are revealed in a terrifically exciting manner! What had seemed to be action inside and outside is actually an amalgam of past and present!

The cast is uniformly excellent and the pace of direction is impeccable in arriving at the surprising ending. But the true glory of this film is the cinematic magic: a more artistic use of film would be difficult to imagine. This is one of those movies that should be part of the libraries of audiences who love fine thrillers and art lovers who are keen on performance art. Highly recommended.

Grady Harp

I was very excited about this film when it was first introduced and had been dying to see it. There was a lot of hype surrounding the film, as the last time Andy Liu and Jacky Cheung, two of the most popular figures in Hong Kong pop culture, collaborated before was sixteen years ago, and the media kept reporting the effort and time the actors put into the film. However, just as the reports were on mundane details such as the hairstyles and the time put into the hairstyles, the movie was mundane at best.

The ensemble cast was great, gathering some of the most prominent figures in Hong Kong and Taiwan entertainment. In fact, the producers even convinced Wu Chien-Lien, who had not appeared in a Hong Kong produced film in a long time, to make a cameo to play Andy Liu's character's wife. However, it seemed that the movie planned to run on star power and paid little to no attention to the details. First of all, although the acting of the four main characters of the two different arcs were solid, Andy Liu and Jacky Cheung could be better, given their talents. Secondly, the supporting characters' acting were mediocre and even many were prominent names, they seemed to be misused and underutilized, thus making it feel like they were forgettable and unnecessary. For example, Eric Tsang, a very versatile actor who even won a Golden Horse Award (the equivalent to the Oscar in the Taiwan, Hong Kong and China sphere) and able to play many different characters while making them feel convincing, felt very one-dimensional here. In fact, he could be killed off and nobody would care. Next, the plot jumped from one story arc to another at what seemed to be the worst possible time, making the film feel confusing at times. Finally, the script, except the end and the restaurant scene where the mastermind of the whole plan was, was very formulaic and seemed like any other Hong Kong made crime thriller.

Still, compliments had to be given to the camera work and the ending. The camera work was excellent, giving the film a dark and mysterious aura that matched nicely with the plot and the tempo of the film. And the ending was excellent. It was very thought provoking and left the audience, if they still followed the film and did not get bored to death, something to think about. It gave the film a different perspective, which I personally appreciated, and made sense of the whole film. It was one of the best twists that I have seen in a while.

Overall, the film, until the ending, receives 5 out of 10. This maybe biased because I have seen too many films with the same kind of plots. With the ending, it is a 6 out of 10 film. Although the twist was great, it was just too late, as half of the audience probably would not care anymore. Watch it if you love Hong Kong produced crime thrillers and have the time. Otherwise, watch Infernal Affairs instead.