Man jeuk

Taking almost 3 years to make, and finally making its way to our shores, Sparrow is worth every moment of waiting, and again cements Johnnie To's reputation as a living maestro who conjures up magical cinematic moments from the tired Hong Kong crime genre. This time though it's totally sans violence and elaborate gunplay, and what came across was a short film idea that's brimming with class, injected with well placed humour, postcard picturesque framing and the unflappable Simon Yam who can do no wrong as the lead.

Clearly this movie plays up on the sparrow motif, of a bird trapped in a cage, and one from the avian family associated with, as this story goes, ill fortune that will soon befall. The figural bird here refers to Kelly Lin's Chung Chun Lei, a mysterious, statuesque beauty who baits our gang into unlocking the cage that's trapping her in a life of misery. The first act plays out like a little mystery, weaving in a deeper introduction of our gang of pickpockets, played by Lam Ka Tung, Kenneth Cheung, Law Wing-cheong and led by their leader Kei (Simon Yam). Thinking they got lucky individually when they each encounter Chun Lei, they soon realize the hard way about who they're dealing with, and realize that they stand a better chance as a group, with unity in strength rather than playing individual lone wolf.

Here's where you'll find the quintessential To movie dripping with camaraderie and brotherhood, written by Chan Kin Chung and Fung Chi Keung. The story unfolds in a rather unconventional manner that leaves you guessing, before it even keels into a mid-section, all the while avoiding big sets and big action sequences. They allow for Yam to play up on his well known photography hobby by working it into the story, and Yam delivers what audiences and fans would have expected, that of a charismatic leader.

Unlike To's previous movies like Exiled and the Election series which were rather heavy in nature and tone, Sparrow, like the bird, is very much light and breezy. It doesn't try to cram too many subplots into its close to 90 minute running time, and provides you a main thread to focus your thoughts on. As mentioned, it is like a short film idea extrapolated effectively into a feature film length, allowing moments of To's signature style of stand-offs to enter the fray, building much needed anticipation, with good natured humour. Some however, might want to draw parallels with Feng Xiaogang's World Without Thieves given its subject matter and its core one-upmanship challenge.

There are two gems in Sparrow that makes its ticket price more than worthwhile. First, the wonderful original music and score by Fred Avril and Xavier Jamaux, whose theme for Sparrow will definitely linger in your mind for quite a while after the end credits roll. With a jazzy feel and a combination of western and eastern musical instruments, the score has a life of its own, and elevates Sparrow to a higher plateau with something memorable to take away, emphasizing the lightness the general tone of the movie takes.

The other gem, will be its fantastically designed major action piece that occurs in the last act. Probably the only "action" you'll see in the movie, it decompresses normal time into slow- motion, in order to exaggerate the lightning quick reflexes all the operatives in the movie possess. The rain, the umbrellas, action designed around them and all done at a single traffic light crossing, remains a cinematic marvel which deserves a second, third helping, and more. Just thinking how it's done technically will already send you into a frenzy, and this likely served undoubtedly as a showpiece for Sparrow.

Sparrow is an elegant movie, which reminds us that while To might have his off-days with movies like Linger, he's back at the top of his game again delivering a movie with deftness in skill, and adding to his already glowing repertoire of movies defining the new wave of crime genre stories that speak volumes of his signature style.

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.

A band of pickpockets all fall for the same woman - who targeted them secretly because she has a job for them .. To rob a wealthy man who once aswell was a famous pickpocket, and save her from his entrapment

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.

Although it is by no way, near To's best work, it is still a lot better than the best many other directors have ever achieved. And just because To tries something lighter (story-wise, violence-wise, although the latter isn't really happening), it doesn't mean it has to be bad.

Of course the To fan, might expect something else. But this is more a love story, even in the more important moments, it goes a completely different route, than one might expect. One particular action scene is more or less choreographed like a musical number (kind of "Singin in the rain" literally ;o) ). Talking about/of music, there are a few people who might be put off by the music. But I felt it suited the movie very good!