Chocolate

In this part of the world, there's no dearth of male action heroes, you know, those with real martial arts background. Think Jet Li, Jackie Chan, Donnie Yen, Wu Jing, and closer to home, Tony Jaa. How about a female counterpart? You're likely to struggle hard to name a credible one, Michelle Yeoh notwithstanding. So Thai director Prachya Pinkaew is probably shrewd enough to identify this golden opportunity, and so introduces us to Yanin Vismistananda in her debut feature Chocolate.

Those familiar with Pinkaew's martial arts extravaganzas with Ong Bak and Tom Yum Goong, will know roughly what to expect from Chocolate. Since the rumoured falling out with his main star of those movies, there's definitely some big shoes to fill, and Yanin fills them quite nicely, martial arts wise, though there were certain scenes which were quite clear that she's still a diamond in the rough with many edges left to polish. But that's not to put down her effort, except that I thought as a lady, her final delivery of those choreographed punches and kicks lacked some really hard hitting edge to them, and the curious observation that some required some speeding up, was left to be desired. What could also be improved, is the transitions between fights, because each seemed pretty much stand alone, even though you know that she's supposedly to be battling enemies continuously, but with each combatant, there seemed to be a "reset" to on-guard mode.

But what was learned from the earlier two Thai action movies, was that it was no longer necessary to repeat the action from different camera angles. This would stem from confidence in showing off the stunts from a single viewpoint, and not feel sore from not being able to cover it from multiple angles. And Chocolate had some really nice buildup in the complexity of these set action pieces. It teases with what's over the horizon starting from a few thugs at a street performance, and sets up carefully crafted action sequences for our heroine to flit from one to another, each being an excuse to dispatch goon after goon coming at her.

Influences from Hong Kong action movies are without doubt, as you can recount similar settings in various HK movies being incorporated here, such as Fong Sai-Yuk's half- crouching styled fights under a stage. What was internalized in Chocolate, was probably from the Jackie Chan styled school of action, which fuses some bit comedy, with the utilizing of everyday objects in one's surroundings to throw off opponents, or worked into the action piece as a prop for acrobatic stunts to be performed. I'd bet there are numerous sequences here that Jackie Chan himself would approve and be proud of.

And in true Jackie Chan culture, besides the end credits featuring some of the NG shots and injuries to the stars and stunt folk, you'll be glad to know that Yanin did most of her own stunts, and it's indeed no mean feat fighting in a skirt of that length, without it getting in the way. While the finale battle involves countless of Crazy88 types ala Kill Bill in wave after wave of attacks, culminating in battling it out on the facade of a multi-storey shophouse building complete with smashing windows, ledges and neon signboards, my personal favourite had to be at the abattoir. In reddish hues, the villains are sans shirts, meaning risks of personal injury are higher without padding that can be hidden underneath the clothes. And with menacing looking meat hooks hanging, and using cleavers as projectiles, just make your job drop at how these fights were choreographed and filmed, especially the slamming of bodies against concrete stalls.

Action aside, the first 30 minutes or so was devoted to developing Yanin's Zen (heh) character, a young autistic girl born of gangster parents - Dad Masashi (Hiroshi Abe) is a non-self-respecting Yakuza member who doesn't have a body full of tattoos, and Mom Zin (Ammara Siripong) belongs to the Thai triads, and ex-moll of its head honcho. In a Romeo- Juliet styled love springing from only hate, only in Singapore do you have the sex scene severely edited, which I thought was important as that's how Zen was conceived. Violence is OK, but sex is zero here. Anyway Dad had to exile himself back to Japan to avoid an all out gang war, and Zin now becomes an outcast single parent, who has to struggle with cancer, as well as raising an autistic child.

Children of such nature are usually referred to as special, and the specialness of Zen is her ability to pick up martial arts by observation. Hence thanks to DVDs of Pinkaew's earlier movies, and having to reside beside a Muay Thai school, Zen picks up the skills necessary, and get to use them when she goes hunting for her mother's debtors in order to pay for chemotherapy sessions. Money's everyone's problem, so Zen gets to use her fists, knees and elbows on her opponent's face, body and shin. I'd always love watching knees and elbows connect to deliver blows on opponents and inflicting excruciating pain, and in her lithe form, Zen delivers them with balletic grace.

Anyway I'd guess no one's really interested in how the story gets developed, which is not without its fair share of loopholes, but we're all here to watch Yanin Vismitananda kick some serious butt. And she does so convincingly enough to warrant a fan following onto her next movie, and make it an action one please!

I watched a version that was not sub-titled so I had no clue what anyone was saying. There were a few details that weren't clear till I read the notes here in IMDb after watching it, but it didn't make a real difference. This young actress does a fantastic job of portraying the autistic side of her character, certainly didn't expect to see competition for Dustin Hoffman's Rain Man here - it will be interesting to see her in other roles. As for what most everyone will expect to see, wow. Remember Zhang Ziyi's work in Crouching Tiger - this is like those scenes but for practically the entire length of the movie. I can't think of any martial arts film I've seen that had moves any better than what is here. Roll together all the Jackie Chan, Bruce Lee, Jet Li, Jason Stratham you've seen, blend in both Kill Bill's, and top it with some really brutal work for the stunt guys - and yes it's all being done by a little girl, but you won't have much trouble at all believing she could really do it. It's a shame that most people will probably never see this actress, just because she didn't happen to be born in an English-speaking country.

Without divulging the plot or the ending, I want to share my thoughts about Jeeja Yanin, so that people will know what they are getting. Her father died when she was young, 11 or 12, and given that she was a gold medalist in Tae Kwon Do as a child who had achieved 3rd level Dan, (equivalent to Black Belt) she helped support her mother and brother by becoming an instructor of TKD at age 14. She auditioned at age 18 for a small part in Born To Fight, and was noticed by filmmaker Prachya Pinkaew, and action stunt trainer Panna Rittikrai, when they decided she was special enough to make an entire film for. This girl quit University studies and trained for this film for four years. She trained under Rittikrai, the mentor of Tony Jaa, and Jaa himself. She trained for 2 years in preparation and 2 years while making the film. She also studied the symptoms and behavior of autistic children, staying with them and working with them, and reading up on everything she could in available literature and film on the subject, including Rain Man, etc. In addition to this, she had to overcome fear of heights (you'll see why) and subjected herself to constant injury, including life risking stunts. Watch the movie and enjoy her spectacular debut, and remember that you were there when a star was born. Enjoy the fact that she is a very special person, who put heart and soul into making the movie.

I must have seen a totally different film than Kazuo_Kiriyama and archip57, I found it to be an exciting,entertaining and at times even touching martial film chock full of well choreographed and cringe inducing fight scenes. I'm not pretending it's Lawrence of Arabia (which, by the way contained a lot of historical inaccuracies)and its a notch below Ong Bak, but it does what it sets out to do and succeeds where so many Hollywood films fail in that it simply delivers the goods: well choreographed, bone crunching fight scenes. Its the kind of film that makes me feel giddy like a kid again and I felt the same way watching Ong Bak,Born to Fight, and Tom Yum Goong. I found the lead actress Jeeja Yanin to be demure and her performance very charming and sympathy inducing, not irritating in the least.

Also contrary to other claims made by one reviewer , there are no wires used in this movie and the blooper reel at the end of the film reveal that Miss Yanin's kicks actually did hurt some of the stunt men (did you happen to watch that Kazuo_Kiriyama?) and not all of her kicks were stationary as I recall she did many flying kicks, spin kicks and multiple kicking attacks, but I guess some people we're too busy thinking of stuff to criticize the film about to really notice the great fight choreography or maybe they should be watching something more cerebrally challenge and artistic fare like "The Diving Bell and The Butterfly" and stay away from immensely entertaining films like Tom Yum Goong, Born To Fight, and this one.

For a start this movie has a story line without to many hickups and the main actors show a certain sensibility not common in a martial art flick. Basically it's about how athletic a human body can be and, if you put behind the idea of a young girl capable to fight a LOT of men, quite enjoyable. The truth goes on in the end, where they show a couple of scenes from production, making people understand this is a movie, not the real life. The acrobatic scenes on the building and the fight are the best scenes, even if ripped from Ong Bak and The Protector, but it's good to see there are many people capable to do this. Sit back and enjoy a good ride from the Thai cinema.