PTU

A police captain assigns his unit to help a colleague retrieve his gun, lost in an altercation with a street-gang, before a reporting deadline expires.

Just as much as the style and the look, it's the choreography and orchestration - and the way To shuffles the characters and objects about on his late-night chessboard; and the sound-scapes, in addition to the glorious night-lit streets and skyline which delight almost to the extent that the opening restaurant confrontational, ultimately tragic, musical chairs and climactic set-piece shoot-out serve as mere book-ends for what comes between. Or even, as brief irritants.

The characters don't particularly matter either - although there are some particularly wonderful-looking villains - because they're all just pawns for this visual, and aural feast.

You've seen plenty of tyre-squealer car-chases - maybe you've seen too many of them; To's come up with a new angle: the cars that glide at intervals through city streets, unobtrusively, apparently disinterestedly, and almost noiselessly - perhaps just to get you thinking "now I wonder what they're up to'? A crime film where all the cars keep within the speed limit? Shurely shome mishtake?

And then there's the kid on the bicycle: by the time of his third sighting you're wondering is he a midget gang member, or undercover cop - or afterhours drugs mule, even; and will it be his fate to be ripped apart with bullets, by all sides? How cruel could that be, for somebody so young? It's all about building tension, and keeping you on edge - or maybe filling in the spaces on that chessboard.

There are some great scenes and ideas, too - of course: as with that opening restaurant scene where various customers get re-assigned according to their place in the hierarchy, and phone messages that we only later become privy to, have fatal consequences. Then there's the tense confrontational scene in the video-game arcade, with the array of flashing video screens vieing for our attention with a synchronised symphony of unanswered cell-phones; and there's the men in cages, bent over almost triple.

Thematically, it reminds me of Kurosawa's 'Stray Dog' - and there may have been more than one scene of that classic referenced; visually; and to a certain extent narrative-wise, it reminded me of Scorsese's 'After Hours'. The boy on the bicycle reminded me of the boy in 'The Third Man', and also of 'M'. But these were only in passing: To obviously has his influences, but his style is all his own. And, sometimes, style matters.

Johnny To is turning into a real favorite of mine. After praising Mad Detective and Sparrow earlier, now it's time to rewind and take a look at a slightly older To film. PTU proved to be just as impressive as his successors.

I try not to expect too much when I approach older films of a director as his trademark style might not be perfected yet. This is the point where PTU surprised me the most. It just breathes To and even though it is starting to age a little, you will hardly notice it when watching the film. To's trademark style is already fully present and already a real spectacle to behold.

Do mind the marketing of the film though, as it is often presented as somewhat of an action flick. PTU is clearly not that. Even though there a few action scenes and one major stand off, the rest of the film is brooding and slow, playing on atmosphere and emotion. But if you've seen any other recent To flicks, you'll already know what I'm talking about.

Visually PTU is a little gem. The lighting is exquisite as Hong Kong's nightly appearance is a collection of dark patches broken down by bright lights. To is constantly playing with the visuals, trying to create a ghostly and barren city which at the same time steams and is ready to burst. Camera work is equally impressive as the camera floats and flies through its surroundings. To knows how to shoot film, that much is certain.

The soundtrack is interesting (again a trademark To element) as it captures a certain atmosphere not often found in a film like this. Always a little off-key and uncommon, but To manages to make it work time after time. The film benefits from the score in several key scenes where the tension is built up to explode into a stylish climax. Good stuff alright.

I guess most people will trip over the storyline, since PTU is pretty sparse when it comes to actual events. The setup is simple, as Lam's character loses his gun and Yam and his crew aid him in recapturing it. Things get out of hand and it all leads up to an impressive gathering of all parties involved (which are quite a few near the end). And even though the film boasts a very amusing ending the key is not within the main story arc but within the individual scenes themselves.

To is one of those directors that can bring life to a scene. He dares to stretch them and brings audio and visuals together to build up tension and to develop a solid atmosphere. The storyline becomes nothing more than a hook and for those hungering for telltales to keep them occupied this could well be quite frustrating. Other film fans will appreciate To's magic and the way he applies it to turn each scene into something more than just a presentation of a storyline.

PTU is first class film-making. Lam en Yam are good actors and know how to play their parts. The soundtrack is solid and the film is visually impressive. It even boasts a simple but fun and sufficiently developed storyline. But if that is what you care about the most, you will miss the real magic of To's film-making. 4.0*/5.0*

I don't agree with Philay Chan at all. I mean, are you digging at the acting and minor stuff like score (score's not important in this movie. There isn't even a score in most of the scenes) just because everyone love this movie and applauded that night and you want to sound A LITTLE DIFFERENT?

I am not asking you to like this film when you don't, but the basis of your analysis is rather weak. I mean, I won't say the acting is brilliant, but it's definitely not spoiling the film.

Apparently, "P.T.U." is about the plot, the visuals, the humor, and most important of all, the minimalistic approach Johnnie To used to tell his story.

I will give it 4 out of 5 stars. Yes, it's not a masterpiece, but I was surprised to see that the only comment we have here is a negative one. This film is a great witty popcorn flick.

I saw a screening of PTU at UCLA tonight, with the director (and his translator) in attendance. I found the film to be a bit slow in spots, but I was willing to go along with the deliberate pace and slow burn of the film. I think in this country we're way too spoiled on visual chaos, with most studio films thrusting a car chase or a slapstick joke in our face every two minutes or so. It doesn't have to be that way. The film was shot beautifully and there is a quiet cool about the whole thing, very reminiscent of a Lee Marvin vibe as someone else here pointed out.

To did stay to answer questions after the movie, and although this did not alter my opinion of the film it did make me appreciate it even more. It was shot over the course of two years, while he would stop to make other commercial films; some actors gain or lose weight on screen! The budget only came out to $400k U.S. Several of the actors were actually crew people from his other films. One person asked him how he made his cinematography choices (i.e. the constant pools of light) and he laughed and said it was strictly budgetary; they couldn't afford to dress every set and they only had a few overhead lights, so voila! I think the limitations of what they had to work with only make the film stronger, much like Jaws is a better movie because the shark always broke down.

I'm convinced that much of film is reverberation from the phenomenon of noir. The key element of noir was a capricious fate that both played arbitrary havoc with lives and flavored the eye of the camera.

I am not thoroughly steeped in Hong Kong work, but there seem to be three main communities: the deeply cinematic experimentalists led by Kar-wai, the stylistic ballet of Woo and company and the neo-noirists. Unfortunately, these can superficially appear similar in many respects. But I think here we have a clear case of the third.

The game is dark. Everyone seems to think they are in charge, but no one is. Luck plays the key role and many coincidences appear. The camera eye is based on the long lens.

I'm beginning to appreciate cinematographers who exploit either the long or short lens. I think it is impossible to do noir with a short lens because it is so obvious that the eye is within the space of action. But few noir films go so far, so long as this one.

Forget the story, which is only to convey the accidents and lack of control (except for the central scene where one character tries to get another to rub a tattoo off his neck). And forget the characters; they are just tokens borrowed from other movies. Just revel in the philosophy here: why does a world exist where everything is a matter of chance, but you as the viewer always, always happen to be in the right place to see everything?

Ted's Evaluation -- 2 of 3: Has some interesting elements.