Monga - Gangs of Taipeh

Monga is directed by Niu Chenze from Taiwan in 2010. This film is based on the mid-1980s in Taiwan as a background. The film related to five young teenagers who just out of school and the experiences of entry the gangsterdom (heishehui). The entire film revolves around brotherhood, interests, fight and conspiracy to develop the story plot. The genre of this film is drama.

The story start in Taiwan that a place called Manga. A young boy, Zhouyiwen or mosquito, he was a timidity and kind boy; he has been bullied by others since he was little. He has not a father. Because of a drumstick, he met a several young people who living the gangster life. Also because of a drumstick he began his gangster life. They set up a group called Prince Gang. They often fight on the street, visits brothel and receive protection fees from others. As result of Li Zhilong's father, Geta, is a boss of Temple Front, no one can bully them. As the resentment of elder, they involved in that. Conflict and betrayal leads to them killing each other finally.

I want to analyze two character mosquito and Heshang.The lead character, after met his four buddies, and he thought his life has meaningful suddenly. He thought they save his soul and brought a new world for him. In the film, there are have a one scene that is, when they climbed the wall and play truant go to outside, mosquito looked back and without hesitation to jumped the wall. I t seems tell us he wants to say goodbye to his past. This is my favorite place. He just knows the brotherhood is very important to him. He thought His buddies like his brother. Because of them, his life was becoming exciting even leave school he felt not matter. They protected him at school and celebrate his birthday. They help each other, they together do everything. All this, he was deeply moved by them. Compared with them, he is more innocent and kind. He is more like a follower. Just like the lines of film, "the grass flutters in the same direction as the wind blows". From this movie we can clearly see that mosquito aspires to paternal love. He was very envy Zhilong has a good father, he saw zhilong with his father sang a song together affectionate, he was touched by this scene. He cried, he hopes he was Zhilong and Geta was his father. Actually, in his heart, he has been thought Geta was his father. At the Temple Front, he saw Geta lying in the pool of blood, he was collapsed. After Geta dead, he replaced Zhilong attended the funeral. These evidences reflect mosquito was much respected Geta although his emotion was humble. He fell in love with Xiaoning, a hooker; he thought he could tell everything to Xiaoning. Particularly, he discovered the real gangster life is terrible, and the cruel ways of punish to others lead to him felt fear and thought of her as refuge.

The other lead character, Heshang, he was clever, he and Zhilong grew up together, , they have exceeded the feelings between brothers. He knew his father's hand was cut off by Geta, he decided to revenged. At the same time, his heart was extremely contradictory. In the movie, when he found the missing Zhilong, he embraced him tightly, and he recalled the picture that he killed the Geta. He burst into tears loudly. He was much regretted. All the remorse in his mind is vent out in this moment. In the film's final, he chose to believe mosquito. Like mosquito said "you thought you goof the gangster life, in fact you goof the friendship and brotherhood". In fact, all of them are not had gangster life, they trust each other and not leave each other. Heshang's confusion, helplessness, sadness, and contradiction also are represents the other four. In this film, there are two lines repeated several times. "I only heard of brotherhood, never heard of meaning". And "If you don't killed them up today, once day you'll be killed". I think these two lines are influences them deeply.

In this movie, there are two key points which are yo-yo and Sakura. They appeared many times in this movie. Heshang gave the new yo-yo to mosquito; mosquito was moved and takes this everywhere. He often plays yo-yo, Heshang was wounded, he sat on one side and holds yo-yo until he fell asleep. Mosquito make a nightmare, when he woke up the yo-yo on his pillow. They sat on the dam, the yo-yo issued weak light. In the end, mosquito use the line wanted to kill Heshang. It can be said, this yo-yo is witness their friendship breakdown. The other thing is Sakura, the combination of Sakura and blood is special point in the film. Progress to the end of the film, Heshang's blood spatter in the air and becomes the Sakura, this is mosquito always dreamed of seeing.

All the character describing is based the story line, on that way; the story has already reflected the characters' temperament, experience, emotion.

In addition, this film has well reflects the characteristics of Taiwan's local, exaggerated bright clothes, the Taiwan dialect and some lifestyle about Taiwan. Meanwhile, also reflects their idea is not very open and feudal, because they think the gun is evil and not accept the new culture. The film uses slow motion and soft music to balance the fight scenes, especially, five teenagers caused the fighting of all turfs in Monga.

Overall, Monga has a very strong emotional color. This story is sad and dreary, everyone lose their important emotion. They never have gangster life, they just through the brotherhood to burning their life. This is the confusion of puberty and the pressure of real life to give a special significance.

The world of cinema has had a long and fruitful love affair with the underworld. From crudely un-sleek Tony Montana to Kitano's too cool for school gangsters, our fondness for these rebels who live on the outer ring of rules-following society stem from our own yearning to break free of authoritative constraints. In 'Monga', directed by actor/director Doze Niu, a young man named 'Mosquito' falls in with the wrong company and like us, is drawn into a love affair with all things explicitly illegal. Set in the 80's, there's a feeling of gleeful reminiscence when watching this. Violence and back-stabbings occur like bees drawn to honey-pregnant flowers as with all secret societies but it is all done with such a sentimentalized, romanticized gloss that it came across as refreshing as a glass of lemonade on a scorching day. We feel special mention should be given to Ethan Yuan. He plays 'Monk' with such conviction and heartbreaking vulnerability we felt he anchored the whole movie with his presence. Similarly, its impressive cinematography and direction gets a shout-out too.

RELEASED in February 2010, the epic-styled "Monga" became a runaway hit in Taiwan, grossing US$1.6 million in its first week. Its success in Taiwan should be obvious. Besides the historical interest in its locale (the Wanhua district of Taipei), there is the attraction of its young and hot cast of TV stars like Ethan Juan, Mark Chao and the Tom Cruise lookalike, Rhydian Vaughan.

Needless to say, Monga's success gives fresh hope to starting a 'new wave' in Taiwan's film industry. Elsewhere, however, it has to compete with the more vibrant and better-made Hong Kong gangster efforts - and the differences and weaknesses may be glaring.

Set in the 80s, high school student Mosquito (Mark Chao) explains at the start that he became a gangster because of a chicken leg. The chicken leg was his lunch and when a bully snatched it away from him, the so-called Prince Gang, led by Dragon Lee (Vaughan) intervenes - and recruits him into the 'brotherhood of five' - with Monk (Ethan Juan), Monkey and A-Po. The boys get along reasonably well with their elders, the Temple Front triad led by Dragon's dad, Geta (Ma Ju-lung).

The gang's youthful skirmishes and street fights soon develop into a more sinister conflict when mainland gangsters like Gray Wolf (played by director Doze Nui himself) try to muscle into Monga with guns - considered cowardly weapons by the locals. With a power struggle in the cards, conspiracies and betrayal follow. Will friendship triumph over greed and power? The coming-of-age story may seem clichéd but it has enough twists and turns to sustain our interest. Director Niu has developed Mosquito's character (as a fatherless kid brought up by his hair-salon owner mother) well enough to get our sympathy even though some of the subplots may be rather incredible. A case in point is his platonic relationship with a young prostitute (Ko Chia-yen) that seems a bit badly contrived. Also, the camera work on the Monga locations looks good (at least to non-Taipeh residents) and the lapses into Hokkein dialect lend a touch of reality to the film (although it can be irritating to some).

What I dislike most about the movie is the slow and draggy narrative - with repetitious bonding scenes taking nearly two-and-a-half hours to unfold a story that should be familiar to fans of gang flicks about brotherhood and betrayal. Indeed, compared to Western and HK films, the action here is mighty tame. Acting-wise, Chao and Vaughan appear rather wooden but Juan provides a powerful account of himself. Niu is also convincing as the mysterious old flame of Mosquito's mother and newcomer to the district.

Verdict: Promising but not compelling. - LIM CHANG MOH (limchangmoh.blogspot.com)

Taiwanese actor-turned-director Doze Niu's second feature film, MONGA is a local box-office knockout at the turn of 21st-century's second decade, notably for humbling the juggernaut AVATAR (2009) upon its release (grossed more than $8 millions, it is a humongous number for the itty-bitty island).

Niu's film smartly harks back to the indigenous gangster counter-culture in the 1980s which is left with an indelible mark by auteur names like Edward Yang and Hou Hsiao-hsien, it takes place in the Monga ("Monga" means "little boat" in tribal dialect, it is today's Wanhua, Taipei's oldest district), local gangsters are safeguarding their respective turfs where street vendors, temples, brothels and their patrons are among the hustle and bustle peopled within the mazy, narrow alleys.

A 17-year-old Mosquito (Mark Chao in his star-making movie debut) moves to Monga with his single mother (Lin Hsiu-ling), bullied by classmates in the school, he is recruited to the "Gang of Princes" as their fifth member, nominally lead by Dragon (Vaughn), the son of the triad leader Geta (Ma Ju-lung), but the real savvy one is the consigliere Monk (Ethan Ruan), whose devotion to Dragon roundly surpasses the usual purview of scorned brotherhood, and Niu acutely channels the tangible bromance into the narrative but camouflaged as a brotherly friendship, and leaves the signals hither and thither without asserting the obvious. Monk, as his name suggests, is the only one who shuns the brothel, but through his intimate interaction with Dragon, and the benign gestures with Mosquito, we don't need to be spoon-fed to understand what is his deal.

Genre tropes start to encroach the gleeful tone when the quintet comes in for the usual hiccups, from a vapid girlfriend squabble, to a vengeful act (with super-glue) goes awry, until the impending annexing bid from a main-lander Grey Wolf (Niu himself, exuding understated menace but doesn't hog the spotlight by dint of his directorial clout), power-usurping is in the pipeline and assassinations begin to pick off the old-guards, which are designed in a cavalier fashion and to some degree distracts viewers from taking its graveness seriously. But a pivotal reveal portents the disintegration of their bond which will be topped off by blood-spilling fratricide, which also flags up Niu's penchant for over-egging the pudding with wordy elaboration albeit the stylish visual artistry (blood morphing into cherry blossom is a nice wrinkle).

The central young cast is gratuitously photogenic and Mark Chao comes off as slightly stilted but acquits himself in Mosquito's greenness and the consequential disillusion. But the showstopper without any doubt is Ethan Ruan, who won a coveted BEST LEADING ACTOR trophy in the Golden Horse Awards, which is the most prestigious recognition from pan-Chinese cinema. His endeavor impresses with both physical exertion and copious pathos. In the main, MONGA breezes a bracing air into the teen-gangster genre, which usually entails a veto of a mainland China release due to its unlawful subjects, and subsists its ethnographic mark remarkably.

After the stunning "What On Earth Have I Done Wrong?," the second film by the persistent director/actor Niu Cheng-Ze(aka Doze Niu) has finally been released under expectations. Besides the attractions of the new generation actors/idols Juan Ching-Tien and Zhao You-Ting(aka Mark Zhao), everyone was also expecting, if this will be better than "Cape No. 7," the Taiwanese box office miracle back in 2008. From the first day box office record, it was helped by the success of "Cape." As for the film itself, it's so much better than "Cape." The story begins from a non-Minnanese teenager, who was raised in a single parent family and had no friends, faced the embrace of the "Prince Gang," an inheritor of a major local gang, he of course couldn't resist the eagerness of getting recognized. But the best of youth also came to the inevitable testament of humanity.

Before I saw the film, I couldn't help wondering, if this will have the shadow of "I Vitelloni" by Fellini, or the look of "Goodfellas" by Fellini's follower Scorsese, or even the glamour of "City of God," by the Brazilian director Fernando Meirelles. When it comes to the violent scenes, the way Niu used the slow motions and soft instrumental score reminds me of Scorsese's romantic sentiment. I could also tell he was trying to avoid any too artistic presentation. With the outstanding editing, it was very intense with the length of 140min. It inherited the deep observation of Taiwanese gangsters by Hou Hsiou-Hsien and Chang Tso-Chi but also gives it a new look for the audience to get close to more easily.

Though it's not perfect, the plot came out of Niu's thinking direction makes it more reasonable than any other new Taiwanese films. The desire for friendships of the accepted boy, Mosquito, led him to be the most loyal member in the gang. He was too innocent to see the fragility of humanity. Monk, who was considered the smartest one, could only be trapped in a fate of religious superstitions. His value of loyalty, due to one single false judgment and the raised anger of vengeance, has been pushed to the edge of his reason with the paradox in his heart. To decrease the strong masculine of a gangster piece, Niu added the young prostitute who made Mosquito know what love is. This blended a sense of tenderness into the film smartly.

Comparing to saying it has the romanticism of "Goodfellas," it's in fact closer to the tragedy of the conflict between idealism and realism we see in "Infernal Affairs" and the remake "The Departed." It's not told from a first person, unlike most Scorsese works, but from the upgraded multiple point of views such as "The Departed." More strictly defined, Mosquito and Monk, like Tony Leung and Andy Lau, DiCaprio and Damon, are the two narrators of the story. But shamefully, the characters lack of the quality of more vivid or heartfelt which they could've been, despite of the enough backgrounds and motivations and the natural twists and truths. While being so, it's still a film that represents the period and culture in Taiwan truthfully. It is unique and has the unique feeling that only Taiwanese audience can connect to.

Sandee Chan's music leads the atmosphere successfully. It even has a slight epic feeling of "The Godfather" and a slight sharpness of "City of God." With also the quality guaranteed sound processing by the national treasure Tu Du-Che, the performance of sound in the film really reached an international standard. Niu selected a hit at the time "Making Love Out of Nothing At All" by Air Supply especially to describe the time Mosquito and the young prostitute spent together. It also added up a bit of cute and retro cheesiness. The big space for the two leading actors to interpret also made them the promising candidates for the year-end's Golden Horse Awards. This film can also be seen as the unity of Taiwanese filmmakers, such as an award-winning actor from "Cape No. 7," the producer of "Orz Boyz" and even the director of "Winds of September" who joined as an assistant director with his crew. It all shows another Taiwanese Cinema New Wave has officially been set off.