The Killer

Some films focus on action to draw their thrills, others put the emphasis on drama and character interaction to draw theirs; The Killer manages to do both, seemingly effortlessly. You would think that in a pure action movie, the drama would come off as a little forced and out of place, but in The Killer it doesn't; John Woo fuses the two together magnificently.

The story of the movie is most certainly secondary to the amazing visuals and the adrenaline fueled shootouts, which is, of course, no bad thing. The movie, however does have a plot which strings the gunfights together, and it follows the story of Jeffrey, an assassin that, while on a job, accidentally blinds a young singer, Jennie. However, this assassin is different from most assassins in that he has a heart; and he decides to fix his mistake by doing one last job in order to earn the money needed for a cornea transplant. However, things are never that easy as after his last job, his employer refuses to pay and, because he revealed his identity on the job, he also has a cop, Inspector Li, on his tail who is played by Danny Lee.

The character of Jeffrey is brought to the screen by Chow Jun Fat, a man that has a great screen presence. Fat portrays his character with great emotion, which makes his character different to the usual, cold image that is normally upheld when we think of a assassin. This is epitomized by one point in the movie in which the policeman tells Fat that he is not the usual assassin, and he isn't. The other central character in the movie that of Inspector Li is also portrayed by a good actor in Danny Lee. The two create a good chemistry on screen as we see their developing relationship, which is born as a result of a mutual admiration and the men's respective professions, which has similarities which are touched upon in the movie, despite them being on opposite ends of the law

Throughout the film, John Woo is able to deliver incredibly crisp visuals that are made more beautiful by his use of music and bright colours. This gives the movie a very vibrant feel, and that's a feel that works incredibly with John Woo's brilliant action sequences. John Woo indulges in all kinds of trickery with the camera and the editing suite; slow motion, fast editing and music all feature greatly in this movie, and unlike a lot of movies that experiment with such things; it works every time here. Nobody can deny the thrills and excitement that ensue where Woo fast edits, or the way the music blends with the slow motion to create a haunting atmosphere to the overly action filled gun sequences. John Woo is a master behind the camera, and it is clearly shown in this film. There is also an amount of strange humour in the film, shown best by the standoff between the assassin and the police while the doctor's work to save a young girl that has been injured in one of the earlier gun battles. This sense of humour would later be instilled in other Woo films such as Hard-Boiled (with it's hospital ending)

After Woo has taken us on an adrenaline fueled action roller coaster ride, he obviously knew it was going to take something special to end the movie effectively, and the movie certainly does end effectively. The last gunfight is, simply, perfect. The action is choreographed to perfection and not a single move is out of place; it's also very thrilling and will be sure to get anyone's heart pumping. This end action sequence has never been topped in the 15 years since The Killer was released, and it is unlikely to ever be bettered. Woo also manages to end on a poetic note that the film has been building up to throughout. In an action movie you don't expect a tear-inducing finale, but here John Woo delivers one, and best of all; it works.

Overall, if action is your thing, then The Killer is your movie. The perfect blend of adrenaline and emotion is given to the audience in this film and with it John Woo has proved that action is more than just gunfights and cool characters; this film is art.

Of all John Woo's bullet-ridden action movies, this is his greatest. You see many of Mr. Woo's "trademarks" (flying doves, reflections in mirrors, very strong Catholic symbolism) that appear in his inferior American directed films (save Face Off) first in this Hong Kong cinema classic. Sure the violence is over the top, the plot only adequate, the sentimentalism a little thick. The actions scenes are filmed with such, I dare say beauty, that no Hollywood 'by the numbers' action film can possibly compete. While this film is not for the squeamish or those offended by excessive and rather graphic violence, if you are in any way a fan of action films - you mush see this movie (and many other John Woo directed films during his Hong Kong days, i.e. Hardboiled, A Better Tomorrow, etc).

"Heroic bloodshed" and "gun fu" were sub-genres coined by John Woo during the mid-80s, starting with A Better Tomorrow. This was a film that marked Woo as a rising artist within Hong Kong cinema of the modern age. After making a sequel to A Better Tomorrow, Woo went and directed The Killer, followed by Bullet in the Head and Hard-Boiled, these films proved his talent as a director who was able to illustrate ultra-violence, through what closely resembled ballet (a.k.a. in this sense, a dance of death). These outrageously stylised methods of film-making hastily became noted by Hollywood producers and Woo –via a mistake on his behalf- decided to make his move to the place where financing was merely an accessory. Ever since this move, Woo has crafted numerous well-known works of commercial success, but critical failure (unlike his earlier pictures), including the likes of Broken Arrow, Face/Off, Mission Impossible 2 and Windtalkers. Shame, considering these lacked everything that his trademark works created, but can be expected with the restrictions Hollywood producers commonly put in place. Fortunately, his '80s legacy lives on and still has an acute influence on many mainstream directors of today.

The Killer propelled Woo's career, as well as that of Chow Yun-Fat, who took the title role of Ah Jong. Although, he plays an assassin, he is the kind who is out to get "the bad guys", and follows a strict code of honour and ethics. Compassionate, sympathetic and remorseful of the way in which he leads his life, Ah Jong begins to become more cynical of the brutality he savours. After accidentally blinding an innocent singer (who he later falls in love with) during a gunfight, Ah Jong's remorse overwhelms him to such a degree that he becomes determined to get a vital donor that could potentially save her eyesight. In order to finance this, Ah Jong settles a final hit, which soon spirals out of control. Law enforcement inevitably becomes aware of the destruction wreaking its way throughout Hong Kong because of the triads. Nonetheless, the cop on the case happens to be understanding of Ah Jong, and as both relate to each other they start to unexpectedly develop an unexpected partnership.

In 1992, Quentin Tarantino's Reservoir Dogs was released; now, it should be noted that the white suits used in The Killer admittedly inspired those now-infamous black suits. I bring this up because I wish to present one of the main techniques utilised in Woo's 1989, action classic. Such a procedure is contrasting the lashings of blood (shown during the countless fight scenes) against the calm, white clothing. Waving a white cloth, for example, is a sign of retreat, or peace and placing blood on white is an opposing confliction. Transcending everything that most action films can only dream of, The Killer combines a compulsory fusion of intelligence and entertainment. Then there is the paradox (as such) of both the cop and the killer using guns, but for differing reasons. Essentially, both are committing the same acts, through similar methods, but for different reasons. The two men have a certain confidence and an explicit willingness to seek fulfilment and justice, which enables a parable to be crafted between the two individuals.

Edited with a glaring visual stance, filmed through bright colour filters and following bare-knuckled narrative management, The Killer packs a well-placed gut-punch. Engaging the viewer through ultra-cool protagonists and beautifully choreographed fight scenes, this grand, wry take on the idealistic assumption of decency within the world of organised crime remains a work of bloodshed which holds artistic significance. Even with the overly dramatised screenplay (echoing a consistent waft of unsuited, moralistic sentimentality) and the dated '80s soundtrack, the piece is an extravagant and exciting take on a temperamental genre. Containing metaphors (the doves extinguishing the flames on a collection of candles) and the use of a church for a set-piece, the film is vastly unique for what is adrenaline-based action. Saying that, most directors would opt for endless cuts as a means of groping the viewer's attention, Woo on-the-other-hand avoids such an amateurish technique, choosing a cultivated approach. The finished result is a concoction of mind-boggling stand-offs and humanistic undertones, enabling it to become a motivating take on a seemingly predictable genre and an ode to the classic westerns (who said The Wild Bunch?). Remember, Chow Yun-Fat is for action, what John Wayne was for the western.

Chow Yun Fat and John Woo teams up together with strong commitment to this highly melodramatic action film. The Killer was so ahead of its time especially with its signature shootout scenes and fast paced action sequences in its time of production in Hong-Kong. Without any special, visual or sound effects; it's a high achievement on both sound and vision. It's high on thematic values, but low on production values.

Woo benefited a lot from a team of action-coordinators as part of the production crew he assigned with. 20 years from its screen release, today still there are not many action films in which the sequences are coordinated as good as in The Killer. The rest of the production was standing by its plot, which becomes unbearable due to extremely melodramatic events. Woo tries to hurt our feelings as much as he can by killing and injuring innocents so ruthlessly: Passengers on a train, children on a beach, singers at a night club etc.

Lowell Lo's heart-wrenching theme and background music was one of the finest of the thematic values. Story development is also very effective that everything seems going fine at the beginning of Jong(the hit-man)'s last mission, then for he wasn't paid for his successful assassination he decides to show up back from underground with his alias: "Jeffrey". When he did, a stage singer ends up losing her sight and becomes blind from shot blasting. Jong helps her get well; she falls in love with him. He introduces himself as Jeffrey to her. No matter what romance they share together, no matter how close they are to each other; there is absolutely no accordance no chemistry between Sally Yeh and Chow Yun-Fat. Sally Yeh acts so poorly, especially while she keeps screaming needlessly every other scene.

For whoever likes this film, I strongly advise Léon to them. The same idea also works in Luc Besson's film, too: In a hit-man's life; there is no certain way to go, there is nobody to trust, there is no repentance. In Luc Besson's film of 1994, Jean Reno and Natalie Portman builds up a better harmony using emotions but not melodrama.

Additionally in John Woo's film, even though Chow Yun-Fat is not fast enough he just stands by the bullets by running, or guards himself with armchairs and seats of the cathedral which are vulnerable to bullets with the gaps between backrests. So many bullets are used... Were they shot by children or blind hitmans? How could you explain not getting shot while 4 hitmans are aiming at you running inside the cathedral and running on the beach? On the other hand, every single bullet that's used in Léon, hurts one person or another; or leaves marks, tracks and holes on walls, and in the texture of the floor. It's not an acquirement to waste 10 thousand bullets in a movie; but it's really an achievement when you configure a sub-production plan just to preview and review the bullets in both pre-production and production.

Chow Yun Fat and John Woo strike again. The Killer is not your run of the mill action flick. It features characters you care about, jaw-dropping action sequences, and , best of all, Chow Yun Fat. He's always supercool. Chow and co-star Danny Lee play very similar characters but are on opposite sides of the law. It makes the film work very well. The heroes can relate to one another because they have both injured the innocent while doing their jobs. Another great actor in the film is Kong Chu in the role of Sydney, the one handed hitman. Being in the middle of the fray, he makes for an interesting character. There is a great scene involving Sydney's betrayal. Chow is so amazing with his emotions in this scene. He's not just an international action superstar, he's an underrated and incredible actor as well. That's what makes The Killer more than just another action movie. Woo's direction always helps too. The Killer boasts one of the best and most epic shootouts in film history. Woo's older films are as stylistic as they get, I mean stylistic as hell. Chow Yun Fat and John Woo make an incredible duo. Nicholas Cage is no replacement, it's high time they work together again.