Requiescant (aka Kill and Pray)

1967

Director: Carlo Lizzani

Starring: Lou Castel, Mark Damon, Pier Paolo Pasolini, Barbara Frey

Dark, moody, amazing, curious, trippy, hypnotic, facinating; 'Requiescant' is all of these things and a good deal more. When I first became a fan of Spaghetti Westerns many moons ago, it was for their decidedly unorthodox approach to the genre. In many cases, they didn't much resemble Westerns at all (which for me is a good thing) and merely used the Old West as a backdrop to tell some violent, highly unusual and at their best hauntingly told stories, filled with bizarre and visually arresting imagery. This film may be the greatest example of that.

The film begins with the masacre of an entire village of Mexican peasants at the hands of deranged, sadistic ex-Confederate Officer, George Ferguson. The only survivor is a small boy, left for dead after a bullet grazed his head. Wandering the land in shock, the boy is discovered by a  religious family who pick him up and adopt him as their own. Fast forward a decade or so and now a grown man and going under the name Requiescant (Latin for Rest in Peace), he learns that the family's rebellious daughter (his 'sister') has left to join a traveling theater company. Promising to bring her back, Requiescant discovers quite by accident that he has a near supernatural ability with a pistol. He discovers his 'sister', now employed in a brothel owned by none other than Ferguson. As he attempts to free her, Requiescant eventually learns of his heritage and embraces his destiny. 

The ubiquitous Carlo Lizzani made precious few Westerns (his only other venture in the genre was the entertaining, though far more traditional 'The Hills Run Red') and that's really a shame as he proved here that he can make one that's as compelling (and certaintly as eccentric) as any of his genre peers (Leone, Corbucci, Tessari...). Among the film's highlights are a tense drinking/target practice sequence between Ferguson and Requiescant, Requiescant returning to the scene of the massacre and having his memory restored amidst dozens of skulls and bones (which has a faint Holocaust feel to it, though I'm not sure that was Lizzani's intention), a particularly inventive saloon duel using a pair of nooses (this may be the highlight of the film) and Ferguson's ultimate commuppance. Every sequence in the film is handled with great precision and assurance (though there's some awkward editing which suggests that several scenes were cut; I have heard that the original print ran several minutes longer than any being offered on home video and am very curious to know if this was the case).

Star Lou Castel brings a memorable quiet confidence to his portrayal of the title character. By all reports, Castel was a strange fellow who stayed in character throughout. Mark Damon (cast against type) delivers what may be the performance of his career as the somewhat sickly looking, faintly gay and almost vampiric Ferguson. It is one of the great perfs in the genre. There was considerable hoolpa over the appearance of director, writer, poet and overall eccentric, Pier Paolo Pasolini. Playing a Priest who is also in line with the Mexican rebels, Pasolini in fact, does not have much to do in the film as his character tends to float in and out of the picture, offering a few choice words and a gaunt stare.

'Requiescant' is an amazing viewing experience. It was one of those few times watching a movie where as soon as it ended, I wanted to watch it again, immediately. Not everyone is as enamored with this film as I am (I have read reviews that alternately have called it "silly" and "dull"). For me, it was positively mesmerizing. A favorite, to say the least.

Rating: 10/10

The Mandarin (aka The Godfathers of Hong Kong)

1973

Director: Chin Shu Mei

Starring: Kin Jin Pai, Cheng Liui, Chiang Nan

As with 'Brutal Boxer' (which I previously reviewed), here we have another so-called 'lost' kung fu movie from the early '70s. The difference is that this film has elected to stay lost... sort of. Apparently there is an English dubbed print in existence, though we're unlikely ever to see it. The reason seems to be that this lone print is owned by a single individual who refuses to part with it or make it available to the general public (such are the ways of the hard core kung fu collector, it seems). Fortunately a while back, a German dubbed print was discovered so at least we die hard types have that to fall back on...

The story (as well as i can gather as I cannot speak a lick of German) deals with a wanderer (possibly a detective) played by real life Hap Ki Do Grandmaster, Kin Jin Pai who in the film's oppening scene, attacks a group of drug smugglers and sets fire to their shipment. This understandably irritates the local big shot (Chiang Nan) who sends his lackeys out to kill him. They are no match for our nearly invincible hero as they are easily dispatched one by one and group by group. When the 'Godfather' finally learns that his new found enemy has a family, he has them kidnapped, setting off a grueling, showdown that is about as intense as any seen in the genre.

It's all very simple and obvious, but what separates 'The Mandarin' from others of this period is it's highly dramatic approach. The plot may be going by the numbers, but the execution is anything but. Kin Jin Pai's hero is shown to be as brash and naive as he is invincible. He is almost always smiling as he dispatches the increasingly volatile lackeys so when he is ultimately betrayed, it hits home like a sledgehammer. As I mentioned, the finale is especially powerful stuff. I can see why it wowed U.S. audiences back in the day under it's 'Godfathers of Hong Kong title. Director Chin Shu Mei (with rumored asisstance by a very young unknown named John Woo which may be more revealing of the film's content) drains every ounce of tension throughout, giving parts of the film an impressive gloom and doom atmosphere (you get the feeling that something bad is on the horizon for our hero, even while things are initially going his way) and this fuels the impressive fights considerably, especially the aforementioned climax. The final moments in the film are about as bold and outrageous an idea as any I've seen.

 'The Mandarin' despite it's simplistic plot, is one of the best and most draining kung fu movies of the early '70s. Worth seeking out, even in untranslated form.

Rating: 8/10

Spiritually a Cop

1991

Director: Shum Wai

Starring: Fung Sui Fan, Lui Fong, Mong Hoi, Yukari Oshima

"Get the fuck out!" growls Yukari Oshima (in English, yet!). Sadly, this should have been her sentiments when shown the script of this otherwise lousy (and somewhat offensive) action ghost comedy. 

The bizarre storyline tells of a male chauvenist vigilante (Lui Fong) who impersonates a cop and is killed while attempting to stop a gang of transvestite jewel thieves whom he mistakes for being women. His spirit returns to Earth ('How can I be killed by women? I am a man!") seemingly for the sole purpose of persuading the senior officer (Fung Sui Feng) into replacing Lin Lin, the female officer overseeing the case (Yukari Oshima) with a man. He goes so far as to persuade the superior (who also just happen's to be Lin Lin's lover) that her undercover meeting with diamond criminals is actually a secret affair.

'Spiritually a Cop' joins the ranks of tasteless Hong Kong comedies of the era and is probably one of the genre's worst offenders. The anti female stance that our 'hero' takes is so forced and so unfunny that it's completely overbearing. So why am I giving this turgid little flick as high a rating as I am? Two words; Yukari Oshima. Her snarling turn as the hot headed officer is breathtaking and far, far better than the movie deserves. There were times where I wished Lin Lin would just lose it and take out every member of the cast. Sadly this didn't happen but when the fights finally do kick in, they are actually very crisp and exciting  (courtesy of fight choreographer, Mong Hoi who also co-stars as a monk who communicates with the dead vigilante). Among the diamond thieves is a familiar face, Elaine Liu and her final smackdown with Yukari actually ranks as one of the best in either's career (she certainly holds up better against Osh than she had in 'Angel')

Ordinarily, a film with a couple of excellent fights and the awesome Osh would be enough to recommend it. Here however, there is a bit too much loathsome nonsense on display for me to fully do so. That said, Yukari's scenes are strong enough to warrant multiple viewings... just as long as I fast forward everything else.

Rating: 5/10

 

Brutal Boxer (aka Blood Fingers)

1972

Director: Guan Shan

Starring: Ray Liu, Chen Sing, Tanny Tien Ni, Guan Shan, Mars

'Brutal Boxer' was at one time a 'lost' film and under it's U.S. title, 'Blood Fingers' became a favorite among old school kung fu enthusiasts who were lucky enough to catch it in theaters way back when and remembered it as one of the bloodiest and nastiest 'bashers' they had ever seen.

Shot in Thailand, our story concerns two brothers, Hsaio and Wu Cheng (Ray Liu and director Guan Shan) who are searching for their uncle. They stop at a restaraunt that they mistakenly think said uncle owns. Finding out too late that he doesn't and unable to pay their bill (never a good thing), they are besieged by the thugs that run it. When the twosome are able to fight the gand off, their skills are recognized by the crooked owner, King Chan (Chen Sing) who hires them and offers to assisst in finding the missing relative. Unsurpringly, the uncle along with his son, Chin (Mars) turns out to be resisting paying 'protection' money to the King and is under constant harassment. This of course, causes the two brothers to have a change of heart. To further complicate matters, King Chan's daughter has fallen for Wu.

So does the film live up to it's nearly legendary, bloody rep? In a way, yes it does. While the bloodletting isn't by the bucket load as the average Chang Cheh directed film of it's time, 'Brutal Boxer' features the type of ooey-gooey gore and crudely graphic makeup effects that are more often found in horror films. It plays like a fairly standard basher throughout it's running time, but truly earns it's keep in the incredible fifteen minute finale, where it gives Cheh's 'Boxer from Shangtung' a run for it's money in the bloody body count department. The actual fighting is some of the better and certainly most intense that I have seen from a film of this period.

Ray Liu makes for an appropriate 'pretty boy' hero who effectively cuts loose at the drop of a hat (his killing method is sticking his 'blood fingers' 'into' his opponent). Mars proves here as he had in 'The Rats' (reviewed elsewhere in this blog) to be a top fighter/stuntman, even at this early stage. His fighting actually outshines Liu's, but due to his odd looks, he was destined never to play the lead. Chen Sing is an absolute terror here. One of the baddest fighters to ever appear in Hong Kong cinema, Chen can amp up the intensity of an action sequence like no other. The film has (rather unfortunately) been marketed as an early Jackie Chan vehicle, disappointing many when they discover that he was merely a background extra. In truth, you would be hard pressed to spot him at all.

Overall despite it's admittedly depressing low budget, 'Brutal Boxer' with it's incredible finale is a solid  'basher' and worth seeking out for kung fu fans who like their action down, dirty and just plain nasty.

Rating: 6/10

 

Mirage (aka Mirage of Martial Arts)

1987

Director: Tsui Siu Ming

Starring: Yu Rong Guang, Tsui Siu Ming, Pasha Romani, Connie Khan

 1987 was quite a year for Hong Kong action cinema. Sammo Hung released his magnum opus, 'Eastern Condors', Jackie Chan countered with his supreme sequel to 'Project A', then the two brothers reunited with third brother, Yuen Biao for 'Dragons Forever' which for them could be equated with The Beatles releasing Abbey Road (not as farfetched as it may sound). John Woo meanwhile, unleashed 'A Better Tomorrow 2' which contained no less than the most unbelievable finale in the annals of action cinema... whew! I thought I had seen all there was to offer from that year, so imagine my surprise when not too long ago I discovered this well hidden masterpiece which not only can stand alongside it's more celebrated brethren, but can contend for the title outright.

The strory: While accompanying a convoy of goods making it's way across the Silk Road, adventurer/photographer, Tong (Yu Rong Guang) finds his party ambushed by bandits. After defeating said bandits, Tong and his party are stunned to see over the horizon the vision of a beautiful woman. No one can explain the phenomona. The task is complete, but Tong cannot remove the vision from his mind and sets forth with his friend on a journey through Mongolia in the hopes of discovering that woman to be real.

Actor/Producer/Director Tsui Siu Ming took his ambitious show on the road, this being a Mainland China production. The results are often breathtakingly beautiful with sumptuous cinematography that nearly approaches the level of a David Lean production. But make no mistake, this is an action picture and the plentiful fights and stunts are simply among the best ever comitted to celluloid. No matter how many Hong Kong action films from the '80s I've seen over the years, I'll never get jaded to the miraculous stunts that populated them. This film is no exception and if anything amps up the quality of the stuntwork to a level little seen, even from this time period. As I stare in wonder and bewilderment at the spectacle, it makes me feel fortunate that such cinema was made before the horrid development of C.G.I. which as far as I'm concerned helped mark the death knell of such pictures.

The cast really give it their all as well.  In one of his earliest roles, Yu Rong Guang commands the screen, already displaying the skill and charisma that would soon make him a star in Asia. Director Tsui cast himself as Tong's faithful sidekick, lending the role all the inheret goofiness and sincerity that's called for. He also put himself out their in the explosive finale by setting himself ablaze (compared to Ringo Lam who preferred to let his stars perform the deed). Despite my feeble attempt at research, I have no idea who Pasha Romani is and that's a shame. As the lovely 'vision' who turns out to be nothing short of a nightmare for our love smitten hero, Romani's portrayal of the evil, animalistic warrior queen steals the film. So viscious and so powerful is her portrayal that it is nothing short of terrifying. If anyone reading this review has any further info about ms. Romani that they wish to share here, I'd greatly appreciate it.

'Mirage' is the kind of movie that comes along only every so often. Though the drama does admittedly take the occasional misstep for the action/adventure fan, it is the complete picture; strong perfs, wonderful scenery, expert direction and constant jaw dropping fights and stunts. It's a damn shame that such an amazing work like this is to this day, still waiting for discovery.

Rating: 9/10

Ambush

1973

Director: Ho Meng Hua

Starring: Chiao Hsiung, Ching Lee,Yang Chi Ching,Wang Hsieh, Dean Shek, Chiang Ling

Prolific director/auteur Ho Meng Hua (who has fashioned everything from the Monkey King/Journey to the West films of the '60s, to the influential cult fave 'The Flying Guillotine', to the King Kong knockoff 'Mighty Peking Man' to the outrageous dark horrors of the 'Black Magic' series) lenses a supreme wuxia/basher/crime thriller hybrid that manages to do justice to each genre.

The setting is the Tang Dynasty. A high ranking constable is framed for the theft of a shipment of jewels. Finding himself on the run, our hero must evade capture while attempting to find out who framed him as well as discover where the stolen jewels are located. He also finds himself in a tenuous relationship with a mysterious swordsman who's been trailing him; his motive unclear...

'Ambush' is one of those films that I simply stumbled upon while researching Shaw Bros. releases from this time period and turned out to be quite a buried treasure of entertainment. Ho Meng Hua keeps the complicated yet linear plot moving at an increasingly swift pace and loads the widescreen picture with some particularly dazzling and sumptuous visuals (at one point there is a striking faux horror element that anticipates the director's notorious later work for the studio). But the real selling point for me was the plentiful action. Initially appearing to be a strictly wuxia picture, the battles eventually give way to some eye opening (for a Shaw production of this vintage) hand to hand duels. These are all filmed with an edgy gusto that I found particularly thrilling. The highlight is undoubtedly the intense finale which takes place in and around a giant windmill that may have been specially constructed for the film. Ho shoots the sequence masterfully, milking every bit of tension and utilizing every interior and exterior section of the prop. It is an amazing sequence  and alone makes the pic a must-see.

In a surprising cast move, Chiao Hsiung assumes the lead protagonist role. Chiao had by this point made a career out of playing notably nasty villains (most of us westerners will recognize him from 'The Chinese Boxer' and 'King Boxer/5 Fingers of Death') and though initially questioning the move myself, I was pretty quickly won over. He doesn't have the typical 'heroic' look, but his quiet charisma suggests that he could indeed have made a career out of this type of role. Regular Shaw starlet, Ching Lee has little to do other than be rescued by Chiao though their final exchange is quite touching (after all she's been through, she entertains the idea of living with him in seclusion). Yang Chi Ching is another surprise as the main villain. Unlike most white haired baddies in kung fu films that are usually played by much younger fighters in wigs, Yang is well into his fifties, yet is quite imposing in the role, lending realism and respectability to his final battle with Chiao at the previously mentioned mill. Dean Shek is primarily known for some wince inducing, over the top comedic roles in later kung fu comedies, but delivers a fine, low key dramatic perf as the mysterious (and ultimately untrustworthy) swordsman. Chiang Ling threatens to steal every scene she's in as the amoral seductress who though morally irredeemable, still manages to gain a small measure of audience sympathy (O.K. a very small measure).

 'Ambush' is a top notch Shaw Brothers effort and a most curious and unusual one. I'll admit that there are still many Shaw releases from this early period that I've not seen but this film alone is cause enough for me to keep vigorously digging around for more. Hugely entertaining and highly recommended. 

Rating: 8/10

Live Hard

                                                               1989
                                             Director: Yeun Cheung Yan
Starring: Simon Yam, Hwang Jang Lee, Lau Ching Wan, Kim Maree Penn, Elaine Liu, Eddie Ko

             
Despite the title, this ultra rarity is not a tongue in cheek spoof of 'Die Hard'. Rather, it is a fairly solid entry from the waning years of Hong Kong's modern day action cycle.

Hong Kong cop, Hui (Simon Yam) is investigating a band of terrorists who killed the son of a high ranking official, but finds his progress constantly impeded by his superior. Meanwhile, a top undercover unit is maneuvering to quickly find out exactly who the next target is before it's too late. Hui manages to capture the perceived ringleader named Ironman (Eddie Ko), but he is promptly released and Hui finds himself suspended (Ironman as it turns out, was a member of the special unit working undercover). Undaunted, he carries on his investigation, befriending an American reporter (Kim Maree Penn) for info, not realizing she is in fact the head of the terrorist organization...

The story is pretty generic and the script is a purely going by the numbers affair with little character development and somewhat of a laxed buildup to the action scenes. What makes 'Live Hard such a treat is the high quality of the action itself and it's large cast of notable actors and fighters. In an early role, Simon Yam already has charisma to spare, even if his role is so underdeveloped. As the head of the undercover unit, Hwang Jang Lee (in one of his last roles) gets to show off his supreme kicks in several fight scenes, showing no signs of aging. This is a good role for the Korean superkicker, one that should make his fans mucho happy. Genre fave Elaine Liu plays a member of Hwang's squad and unfortunately does not have a whole lot to do until the finale. I for one would have liked to have seen her role expanded a bit. Making her debut, Austrailain Karate expert Kim Marie Penn definately leaves an impression. Her acting was nothing to write home about, but she really lets it rip when the fists and feet start flying. Her final reel smackdown vs Hwang is a real eye opener. In fact the entire special unit vs terrorists finale is filled to the brim with some outstanding fights and stuntwork. US Karate champion Farley Ruth Kordica is memorable for her considerable skills and freakishly scary looks. The only other role she appeared in was 'The Witness' (aka In the Line of Duty 4) where she gets an intense one on one with Cynthia Khan. Ever reliable Mark Houghton  has a brief early appearance in the dubbed export version only as a target of the terrorists.

While it is lacking in character buildup (it plays almost as if it's first reel is missing), 'Live Hard' with it's hard hitting action and rewindable finale makes for good fun for the 80's action enthusiast.


                                                                         Rating: 6/10