Sparrow

"Sparrow" was a fairly mediocre movie by the usual Johnnie To standards. While that is said, then the movie is interesting enough, but just didn't manage to rise beyond mediocrity.

With Simon Lam and Lam Ka Tung on the billed cast list, it was hard not to be thrilled about this Johnnie To movie. And while they performed quite well, they were severely limited by the storyline and script.

The story is about a gang of pickpockets prowling the busy streets of Hong Kong, whom are all trailing after a mysterious and alluring woman.

I will say that the storyline was fairly shallow and limiting to the entire movie. But there were some nice moments and turns in the story along the way. But the overall result wasn't particularly impressive.

Visually then "Sparrow" does offer some nice things and the camera-work in the movie was quite good and interesting.

"Sparrow" is quite a different movie compared to the many others coming out of Hong Kong cinema, and I do enjoy Asian cinema quite a lot. And, of course, director Johnnie To can't be hitting gold every time he directs a movie, and "Sparrow" was, in my opinion, a swing and a miss.

Thives with razors on their tongue, seemingly interesting characters. No credibility. I was reminded at all times that I was watching a movie. The lack of presence in characters and looseness between the scenes made me awfully aware about the acting. This is some times the case when a director makes something for himself and comes blind to his own work. He forgets to tell the audience the stories of the characters. Maybe he forgot the stories in his head. One is left to wander from image to image, carefully chosen pieces of Hong Kong city scape. Clever tricks and beautiful images though aren't enough to make the movie complete. Three years in making and it shows. Where is the focus? Scenes are loose and connection between feels like shorts put together without adding up or building anything. Johnnie To achieved a cool style but forgot the characters. I like fun light movies but with no connection to the characters and story, the movie left me numb. The Finale comes out of nowhere. The build is a joke.

Johnny To is quite a veteran, Sparrow being his 49th film already. But even though he has made quite a few films in the 80s and 90s, it's only recently that he got his international break. Before mostly known to Hong Kong action die-hards, both his Election films elevated him above his peers. And even after all that time, he still has quite a few surprises left in him.

I've been tracking To for some time now and even though he's made some fun films in the past, he really raised the bar after making the Election twins (and Exiled in between). Since then, he's been making films that are more than just simple genre works. With Sparrow, he goes beyond and delivers what might well be his best work to date.

It's difficult to explain the flow and feel of Sparrow. In some ways it feels a lot like classic cinema, but made with a classy smirk. The tone is light, the setting and characters elegant, the humor never feels out of place though it usually is. And beneath all that is a pretty smart play of cat and mouse, adding another layer or wit to the film.

Simon Yam is perfect in his role of elegant gang leader. He's an actor that's been around and really cut out for a job like this. His character is always in control, stylish and elegant. Behind him is a team of trainee pickpockets, learning the trade from the master. All is well until they are played in return by a lady, drawing them into a neat little showdown with a senior pickpocket artisan.

Visually the film is remarkably neat and clean. Every shot shows detail and consideration, the use of color is spot on and the film features some awesome shots of Hong Kong (showing quite a few sites reminiscent of the Ghost In The Shell cityscapes). In between To even finds time for several playful tricks reminiscent of Kar-Wai's In The Mood For Love. To shows himself a master of visual storytelling, which is needed as the film itself features little dialog.

Even more remarkable is the soundtrack. A combination of classic Chinese music and jazz, quite upbeat and always playfully out of place. It gives the film its flow and gives many scenes and extra quirky dimension. Even though the story itself could allow for some tense scenes, the soundtrack never allows this to happen. Not a soundtrack that'd work outside the film (at least for me), but crucial to the fun and pleasantly different.

It takes about 5 minutes to get into the film, it takes about 70 to get hooked. But its those 5 final minutes, bringing a climax that will make this film remembered by all those who've seen it. The finale of the film is really out there, showing nothing but visual poetry and umbrella action. It's an amazing scene drawing a lot from classic western stand-offs, but given a whole new dimension. I've watched the scene a couple of times over since, and just about everything is perfect (it's even said To hired dance choreographers to get the whole flow of the scene right).

Hardcore To fans might find themselves on shaky grounds with Sparrow when they are expecting another gritty action adventure, but all those with a love for cinema should at least try this film. To's passion for the job shows in every scene, in every choice and in every detail. The film has its very own, unique flow and knows to charm from the first minute. And to top it all, it boasts one of the most stunning finales ever seen in film. Sparrow's getting a well-deserved 4.5*/5.0* and I can only hope To's box of tricks isn't emptied yet.

I really loved this one. From the beginning to the end it is bittersweet and charming. Even though they are supposed to be pickpocketers but it is so light and there is barely any reality and maybe it was something like dancing but there isn't any. Four of them on a bike and it was silly but lovely and especially when there are people crossing the road in the rain and those big umbrellas, we have to smile and for sure we really think they will turn into a dance but they have razorblades each within their grin. There are many little moments, obviously the sparrow and the alleys, the tree in the hillside street and pouring rain with those amazing neon but probably the best moment as a couple share a cigarette, even though, or maybe because, there is some lipstick on his and he puts it to his mouth it was surprising and mesmerising.

Pieced together over three years, Sparrow is a short, sharp and wonderfully charming passion project and tribute to old French New Wave cinema. One that unfurls like an elegant ballet and excels at capturing a romanticised Hong Kong that feels particularly warm and inviting, yet comparatively rich in a relaxed sense of charm and play. While this one didn't immediately grab me as effortlessly as other ventures by Johnnie To, it won me over in the end, as gorgeous lighting and musical score by Xavier Jamaux and Fred Avril virtually dance across the screen. There is relatively little dialogue involved, so the music ends up providing much of the guidance with a series of witty and self-aware compositions that go a long way in making the funnier elements succeed. This near-silent treatment makes the film stand out from its contemporaries; without much in the way of talking, attention is re-directed to the physical performances, the music, and the beautiful photography. The film happily canters along, bathed in gorgeous lighting and drenched in atmosphere, but Sparrow equally feels like it comes with a sad and rather heavy dose of lethargy. It flies where it will, ever joyous and blissful as the slow-burn of a cigarette in a lip-glossed mouth and the languid sprawl of Hong Kong give the film an arty insouciance. There's sound and fury here, and while it may signify nothing, it's still something to behold.