Ah Kam

"The Stunt Woman" is far from a perfect film - it is quite slow and meandering - but it gives Michelle Yeoh the chance to show her stuff in an atypical dramatic role: instead of playing an aggressive, super-confident superwoman, she is just a simple, easygoing, unassuming, brave woman trying to earn her living by doing what she's best at, doubling actors for dangerous movie stunts. Her mature, restrained performance is pretty much the whole show here - and she looks great, too. The film is absorbing most of the way, but I have to be honest here: when Sammo Hung's character (an action director) advises an aspiring screenwriter to "liven up" his romantic tragedy with a few fight scenes, I thought that this film itself might have benefited from a similar approach. OK, it was obviously designed as a change-of-pace for its stars, but it still seems kind of wasteful to have Michelle, Sammo and Ken Lo in your movie and have a total of about 3 short fight scenes in it. (**1/2)

Stunt woman Michelle Yeoh finally gets her break in the hardscrabble world of Hong Kong film, when director Sammo Hung's leading lady throws a fit. No, she doesn't get to play the lead, she gets to be a stunt woman on the production, and discovers an unlikely and erratic collection of people who produce the most amazing effects in the sloppiest and most haphazard fashion possible.

Ann Hui's is bolstered by these two performers, as well as the other performers. Like many a Hong Kong production, it has a third act that seems to come out of nowhere to seal the emotional arc of the story, but I'm fine with it and the fine stunt work of Yuk-Sing Ma.

As a showcase for Michelle Yeoh, The Stunt Woman mostly works, but judged any other way, I think it kind of lost the plot. If it didn't lose the plot, then maybe some parts of it got lost in translation. Or maybe the film just lost me. It could've been a little of all three. Either way, something or someone was lost.

It's a movie about making a movie, and then it sort of becomes a crime film, and then it's a melodrama, and then it just tries to do a bit of everything in a chaotic final act that made me feel like something weird happened behind the scenes. If it's all meta and chaotic because it's about filmmaking and the difficulty of bringing a movie to fruition, then... sure? I think that might be a little too charitable.

The first hour or so of this was decent, if a little unremarkable. I think it only collapsed in on itself toward the end. So I didn't hate The Stunt Woman, but I also don't see it sticking with me. Maybe the idea of a good movie with Michelle Yeoh and Sammo Hung as the two leads was too good to be true. Maybe there are others. I can't think of any right now, though.

Before the film I was watching the actors list. It seemed impressive with the names Michelle Yeoh and the legendary Sammo Hung. I immediately thought of kung fu fights and action. This is not what the film delivered even if the title suggests it. It's mostly a drama revolving around Yeoh's character Ah Kam. Ah Kam is an ordinary woman trying to get by, having success at some things and bad luck with others, just your typical basic drama plot with some twists thrown in. It starts nicely with scenes on an action movie set where they are shooting the stunts. After that it's downhill and towards the end it gets very jumpy, with weird scenes out of nowhere. I found it very difficult to follow the plot because the scenes felt somehow out of place and inconsistent. So what to expect of this film is Michelle Yeoh and Sammo Hung without the great action sequences you are used to seeing when associated with these names. The film delivers only a couple of average action scenes, but not enough to satisfy the people watching this for the action. Plus the end is totally mixed up and unsatisfactory. Even if I watched this without my "action glasses" as a drama, which it is, I wouldn't find it very good and I like a good drama film every now and then.

This movie is almost all Michelle Yeoh, whom I--and, I imagine, most males--enjoy seeing in almost anything. Here for once she is playing a character devoid of glamour and fantasy, and presumably not far different from herself, except in being unlucky, unhappy, unknown, and unappreciated.

It is difficult for me to imagine Ms. Yeoh, even at her youngest and most inexperienced, as having been shy and skittish around a man she liked, or easily led. Otherwise she is convincing and, as always, attractive and likable. But there is one thing I find missing from her performance, as from all her performances, which is made all the clearer in this down-to-earth milieu: her character is never knowable. You don't get to see far down into her, to find out who she is and how she got that way. True, the lack is as much in the script as in the performance, but most actors are able to fill in the spaces in the scripts. Why is the character in this film a stunt woman? Why does she stay a stunt woman? How does she feel about the other characters--her roommate, her director, or the director's son? Her attitude toward life is that of most of Ms. Yeoh's characters: glum resignation, and with good reason; her attitude toward people is one of detached tolerance, generally benevolent but impatient, as if she were an aunt who happened also to be a queen or some supernatural entity (this works best in martial-arts fantasies where the character IS a supernatural entity).

Ms. Yeoh aside, I thought the film a rather interesting treatment of a rather uninteresting story, and was particularly interested that it acknowledged the criminal aspect of the film industry in Hong Kong. But I wished the processes of movie-making and the on-set relationships had been shown in more detail, and that the melodramatics near the end had been avoided, being out of key in a relatively realistic story.