About Sacrifce, A new Life

Watched a made-in-Hong kong movie, "叔．叔" last weekend. A social commentary that made the audiences see the extraordinary in everyday ordinary things. I keep wanting to write about it and somehow never get around it, until now. Yet, I am now deprived of words. Maybe a synopsis: about two old uncles, both have their own happy family, who fall in love with each other. The asian society does not really take care of their aged members, who may still have their needs, emotionally or otherwise, after they have spent almost the whole of their lives building their country. In the end, the couple has to bow to familial pressure. Yet, on a personal level, I think they have sacrificed too much and spent so many years building their lives with their children all grow up, that it could be too much of asking to give all that up to venture on a new life together. I can relate to that - I have too sacrificed years and effort building my singlehood. Or maybe, for I also have doubt, it is the fear of change. We all fear change. And it takes courage. More than I want to admit. Another part of me thinks that if life is all about the tiny bright spots amidst total darkness, then it does not matter that happiness, in all its beauty or brightness, is only short-lived. Perhaps I have digressed. What I mean to say is that to spend even a moment, where the gay couple can be themselves, in each other's arms or thoughts, it would be enough. It does not take a new life to change anything.        

Ah Boys to Men

I have to admit I was sceptical at first, but Jack Neo, the director of box-office record breaking (the only reason why I chose to watch this) "Ah Boys to Men", has really impressed me with this sincere work: nothing too melodramatic (this is what I dislike about his movie, and Jack's forced attempt to "preach") and there seems to be a certain objectivity or "balance" in his script this time. I think Jack Neo is a living proof that old dog does learn new tricks! I love the part where the recruits tell stories they heard from the olden days recruits - brought back memories of the same stuff I heard. I think the movie would be great for a family outing: grandparents, children and grandchildren - apart from some vulgarities, inevitably - where some of its members have undergone NS, great topic for all to talk about. Either that, or I was simply being sentimental, clouding my objectivity.

I understand that "Ah Boys to Men" was blasted by critics. Perhaps, they were looking at the movie from an artistic point of view. But they must have forgotten about last year's Taiwanese hit "那些年，我們一起追的女孩": can anyone tell me where is the artistic value? I remember telling my friend how "那些年，我們一起追的女孩" would be a hit for Generation Y. And coincidentally, "Ah Boys to Men" shares a similar underlying theme: growing pains. And mind you, in this department, Jack Neo has done a more than competent job. 

Just Another Update

I thought I could advise Mr Ng Boon Gay on his court case. No, I am no lawyer. And who am I to advise a former CNB chief? But, seriously, it is as clear as day that he is putting his family through hell. And it doesn't take a judge to disbelieve his words in court. For starters, it's beyond me to imagine that he had no knowledge of the abbreviation of Ms Sue's company when he signed his authorisation. His lies, may I say so, are simply too glaring. And mind you, it is only when you have something to hide, that you lie. So as I read the news report online, I can't help but imagine the legion of unlawful affairs he keeps locked up in his astute mind. I have to said that it is just a matter of time before he trades his proud uniform for white shirt and blue shorts. Might as well just get it over with, don't you think?

Say, does having sex in a car save you from being caught? Any answer out there?

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I watched a number of great films recently, though Cold War (寒戰) comes out top easily. Tony Leung Ka Fai's performance simply took my breath away and alone is worth the ticket price. Another was Skyfall. Hard to imagine that it was my first James Bond's movie. You wonder if you have walked into the wrong theatre: no babe, no gadget except for a James Bond's exclusive gun. But it has valuable assets like a great plot and relevance. Indeed, the greatest enemy that every nation now fears is the faceless terrorist that "hides in the shadow". The world of James Bond has to change, such are the progresses in the sexual revolution (such a primitive phrase, don't you think?) and technology. I must say that the director / script-writer (s) has updated the James Bond's tradition pretty nicely.

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Two good novels to recommend: "Life of Pi" (the big-screen adaptation by Lee Ang is highly anticipated) and Yoko Ogawa's charming "The Housekeeper and the Professor". I especially enjoyed the latter.     

The Dictator

Now, I can't think of a better advice: you are to come prepared with a box of tissues. It's only for your own good. For this is one hell of a tears-jerker from start to finish (but remember to stay back a tad for some extras), so you are bound to shed buckets of tears.

Tears of laughter, that is. But I was filled with sorrow, truly. For "The Dictator" was my introduction piece to the world of the standout stand-up comedian (for he is truly one of a kind), Sacha Baron Cohen - how I regret not stepping into it earlier - where he is Admiral General Aladeen.

Aladeen is the dictator of his country called the Republic of Wadiya, which not surprisingly, only exists in Sacha Baron Cohen's most fertile imagination, as a co-writer of the script. I guess it really takes some imagination to orchestrate this hell-raising party, no holds barred. "The Dictator" liberally rains digs into gender, racial discrimination, politic (I was wrong about democracy all along! It's definitely over-rated!), and almost everything under the sun, which of course, is power-crazy China's, and he somehow gets away with it. But what really tops it off is that, Sacha Baron Cohen was really convincing in almost every way. After all, he is Aladeen, the Dictator! And I pledge my loyalty to him only.

春嬌與志明 (Love in a Buff)

Decided on watching 《春嬌與志明》 (Love in a Buff) at the last minute. Right after it, my friend said that it is better than part 1. I think it is a classic contemporary love story that most men could relate to. Though it is far from being a epic-sized movie like "The Avengers", curt ambition, relying on a good script and the chemistry between the actors to make the movie work instead with minimum special effect (if there is even any), it left me a deeper impression. More than just the humour (almost Stephan Chow-esque), and there are brilliant scenes of emotional exchanges (yes, at times, the most emotional scenes are the most comical) between the two lead actors that really had me in stitches, it is the small details that make a big difference, or rather the "surprises" or "驚喜" (or small miracles, in my context) in everyday ordinary life, which Ann Hui has spoken about while making "A Simple Life", that make it a standout - thumbs up for Asian movie. The clip is shown at the end of the movie, but I guess it will only make more sense after you have watched the movie. Still, it gives a good laugh.

大追捕 (Nightfall)

Now, this is one review I strongly feel obliged to write. That is, before "Nightfall" ends its presumed short run at our local theatres - it is now into its second week - looking at its low earning power (one of my favourite, "歲月神偷" - "Echoes Of The Rainbow", also disappeared from the big screen after two weeks). It doesn't take much thinking to realise that "Nightfall" isn't a typical film to take your date to, or for a outing with your buddies for some male bonding - okay, perhaps with your buddies, or like me, you basically crave for good acting (now, as we were watching "Money Ball", we only grew more confused why "Brad Pitt" was nominated for Best Actor.). So one good reason was 张家辉 (or Nick Cheung, multiple award Best Actor for "证人"), and he didn't disappoint - not one bit. As a ex-convict who stabs his throat in jail with a pencil to turn mute, perhaps in protest for his innocence's appeals falling on deaf ears, his performance is speechless - not just literally, of course. Then you have Simon Yam (任達華), another Best Actor winner for, of course, "歲月神偷" (I know, most people will be asking: what movie again?), as the dogged "Truth" seeking detective. The action is good, of course (typical of Hong Kong movies in recent years: the "Ip Man" series leading the way), but what really surprised me is how brilliant the plot is, and how it managed to keep this audience in suspense throughout - you don't get much of that in Hollywood blockbusters with the influx of scripts adapted from comics or novels (please don't get me started on print-to-screen).

The Korean cult film "Old Boy" came to mind at times with Nick Cheung's character working out or shadow boxing behind bars, and having been released, leering at women walking on a busy junction like some psychopath. Then, I was reminded of "Confession of Pain"(傷城) with its theme on the importance of family underlying "a psychological cat-and-mouse story."

"Nightfall" doesn't really fall into any particular movie genre, though it is marketed as a thriller, perhaps rightly so. It tries to be everything to please everybody, such is the gravity to bow to commercial environment.

The Flowers of War (金陵十三釵)

"The Flowers Of War" (金陵十三釵) is famed director Zhang Yimou's and China's entry for Best Foreign Language Film at the 84th Academy Awards (which "A Separation" won, by the way). Based on a novel by Yan Geling, which incidentally is great material for a screen adaptation, the narrative is so compelling that its length of two hours plus flew past unknowingly.

Perhaps, the credit must also goes to the director for his controlled pace throughout the film. His attention to detail, use of rich images, sharp colour contrast, intuitive camera work are some contributing factors that kept this audience's eyes glued to the big screen.

Overall, the performance of the cast is commendable. I guess, by having the actresses speak in a dialect most of the time, which wiki proposes to belong to Nanjing, where the film is set during the Second Sino-Japanese War in 1937, fascinated this audience into thinking how they seemed to be of another world. Hence, their deeds are seemingly out of this world beginning with a American thuggish mortician, John Miller (the obvious audience-pleaser Christian Bale still fresh in my mind from his Best Supporting Actor's role in "The Fighter"), the reluctant hero who has a chance to leave Nanjing and its atrocities of war, but chooses to protect the safety of a convent of schoolgirls instead.

But I realised at one point that the film is really about the heroics of twelve local prostitutes led by Yu Mo (a shining newcomer in Ni Ni) hiding in the convent, and the convent priest's adopted son, George Chen (Huang Tianyuan), in their ultimate sacrifice for the girls. They are a great bunch of characters, really, and provide plenty of humorous moments, as at first, they too struggle to cope with the reality, how their own lives hang by a thin thread. It takes the brutality of war to show what the toughest women are made of, I guess, and shame most men.

All in all, an emotionally rich ride. With thanks for OMY for the invitation.

Sunday's Double Bill: "A Separation" & "A Simple Life"

To underscore how much being able to watch this Iranian film meant to me, I have to thank the Academy Award's fame and for giving it the nod for Best Foreign Language Film in 2012, as a result, bringing it to our shore. The film's title emits a subdued, deliberately undermining ring, but does not distract this audience, rather draws his attention to its main theme. The film director and writer, Asghar Farhadi, shows knife-edge perception and observations of a society divided by social status (the rich and the poor), generation gap (parents and child), gender and perhaps culture (East and West). I would have named it "The Great Divide" for dramatic effect - that is, in a broader sense, after the difference too wide to be bridged between two individuals. The style of story-telling is not something new though, relying on the various characters giving their own versions of a most unfortunate happening, projecting a Rashomon effect like a snowball growing larger as it gains momentum.

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Now, this is another highly acclaimed film, which surprisingly, to many of my friends and myself included, gave Andy Lau his second Golden Horse's Award for Best Male Actor. Though, Ann Hui's understated direction of this social-conscious film (on the greying issue in Hong Kong) and veteran actress Deanie Ip's unforgettable performance were the standouts here, Andy Lau, like KL said, gave a natural, restrained performance (pretty much like himself as a producer of the film) to blend into the backdrop (perhaps a monumental accomplishment) of a self-sacrificing warmth in the purity that is the life of Tao Jie, unlike any roles he tackled before, not just as a silent observer, but a grateful (from the core) man who has received much and in turn, decides to give back to his house-keeper near her life's end. His realisation of how much Tao Jie meant to him is gradual, almost immeasurably tender.

P.S.: It has been a long time since I reviewed movies, and the rustiness can't be clearer to me.

Random Thoughts

The year is coming to an end. Things have slowed down at work, or in fact, in life in general, as if the winding down has begun. Thoughts, poetry in ink trickle at times, but nothing coagulates.

Am excited about the Lion's Malaysia Cup adventure next year and watching "The Muppet" at the cinema again - "Can you tell me how to get, how to get to Sesame Street!"

It's the little things that are little bubbles of joy, getting to write on my notebook, listening to a great piece of music, even reading poems.

Just watched "White Vengeance". Some great epic scenes here and there, but I think that the director, Daniel Lee, somehow slightly lost his focus on the relationships, the strings of fate that work on mortal men like puppets. Intriguing battles of wits, after all, life is like a game of chess. The climax that is the banquet was the movie's central piece and truly sublime. I thought Xiang Yu should look more fearless, and merciless. Still, it was much better than "Immortal" - what was it about again?

One poem I wrote some time ago...

Waiting for my bus

Rain-rushed grey river runs giant
metal boxes on rubber before slipping
into downstream hollow, but none
of them I am waiting for,
thus are all loathed.

I am making paper aeroplanes
out of time but they don't fly
well, which brings life
to standstill.

Now I sit in a ghost town waiting
for the ultimate disaster to befall.

Short Note: Talking About "Mother Water"

The opening film for this year's Japanese Film Festival. Light-hearted. One feels blessed with the humdrum of everyday, ordinary life. Our lives, like the river running through the little sleepy town in Kyoto, flow as if unchangingly. Yet, our lives are most interesting, as each of us evolves drop by drop. It's a blessing to be alive, really. Make your happiness today.

Totally fall in love with the opening few minutes: three ladies from different locations perform three related, ordinary tasks in sequence, yet the links between the tasks make each task beautiful despite its simplicity.

The Rite

Firstly, I think this would be a rather strange movie for a non-Catholic to go to. Except, of course, if you are a fan of Anthony Hopkins, which incidentally, I proclaimed myself as, after watching his performance in "The Remains of the Day" (all thanks to Esplanade Library for the DVD!).

So, how was the movie, you asked? "Balanced" is my word. To a lesser extent, "average". I think the Swedish director, Mikael Hafstrom, tried too hard to please the mainstream audiences, given its scare tactic, the dramatic soundtrack especially, and a few bows to pop culture. I would much rather that he plays it "as it is", to give it more realism, given the intriguing "even-the-Vatican-thinks-there-is-devil-or-possession-you-know" theme.

Prior to watching the movie, I was boosted by the press interview with the director, revealing how its focus is on the internal struggle of a priest - rather than the gore of exorcisms, which explains the NC-16 rating - as "Batman Begins" came to mind, "putting the flesh back" into Batman, not just a two-dimensional graphic hero, if you know what I mean. So I thought there would be potentially mind-boggling questions raised about God, possession and its relation to religion - like throw a few spanners into the work of logic. In this aspect, "The Rite" fails miserably. And no, not even the great Anthony Hopkins could save the day, neither could the excellent works of the make-up artist(s).

P.S.: Now, talking about "Batman Begins", my money is on Christian Bale (in case you forgot, he was the man behind the mask) winning the Oscars for his top-of-the-drawer supporting performance in "The Fighter". But then there is Geoffrey Rush - another of my favourite after watching him in "Shine". Watching "The King's Speech" soon, I hope.

City Under Siege (全城戒備)

I was filled with anticipation for this. Partly because of my renewed confidence in Hong Kong movies, with "Echoes of The Rainbow" and "KJ: Music and Life" two of my recent favourites. And the short synopsis I read presented a delicious mix of sci-fi action, philosophy and romance, perhaps.

Aaron Kwok (郭富城) starred in this one as Sunny, a hapless clown in a circus, till a bio-chemical accident in a night of treasure-hunting with his fellow-performers, changes their lives. As a result, Sunny becomes a superhuman with incredible strength and accuracy in his knife-throwing, before gaining fame in the most extraordinary way. While the others look for riches as bandits, becoming "beasts" not only in their physical form, but in their souls, setting the stage for a violent, winner-takes-all encounter.

In my book, in many ways, the film delivered little. It is close to an epic action-flick; the only problem is, it looks like one from the 1990s, complete with the truckload of explosions. Which is rather sad, really, taking into account the high quality of film-making in Hong Kong in recent years. Philosophical? Perhaps a little, nothing really thought-provoking. Entertaining? Well, maybe, a little - just a little. Perhaps, what this film needs most is a huge dose of creativity, which sadly, was obviously lacking.

Personally, I took this as a temporary dip in standard (hey, I really can't complain with the good Hong Kong films I watched.), as my confidence in Hong Kong movies remains intact. Afterall, there are many other talented, dedicated film-makers in Hong Kong.

P.S.: With thanks to Omy.sg for its invitation; makes me believe for a moment that being a blogger does have its benefit.

歲月神偷 (Echoes Of The Rainbow)

I cried. For a lost era. All stolen by the greatest thief of them all: Time. As KL put it simply: "A good movie." I thought: "Worth every drop of my tears."

If only our lives were as simple, human beings as selfless. Still I believe, a part of me still. I want to believe. A touching, nostalgic story of a movie made with heart. Full of heart. Full of tears brimming my heart. Still.

I know that I can't heap praise enough. Still, thank you, Mr Alex Law, for your direction and screenplay. Thank you, to all the cast: you were all just great. Lastly, perhaps something is not lost, for I see love brimming in this love letter to 60's Hong Kong.

KJ: Music and Life / 音樂人生

Life, as in music, can give you brightness and darkness, I guess. And more so, are these magnified if you are a musical genius like KJ, winning a Best Pianist prize and becoming a concert pianist, all at the tender age of 11. A documentary, or biography, containing footage and interviews with KJ, his family and friends, from when he was 11 to now, at 17. At times, it filled this audience with so much life, emotions and confusion, about music, art and mostly about life, that it goes beyond just being an average film.

It occurred to me to question: did being forced to go for competitions by his father, performing at such a young age, and his lost childhood spent on hours of practice, have such huge impact on his emotional development, that he was made into an arrogant, rebellious and egoistic young man (if I may say so)?

Yet, did his early musical education, somehow, gift him the mental capacity for profound thoughts about life, about humanity?

Or is he a genius born, and as such, has to bear the many burdens, the frustration of one, in his quest for perfection, or for what he really thinks is music? Then again, KJ thinks that anyone can be a good musician, with a good teacher, like he had in Ms Nancy Loo, at a young age. In either way, good for him, for without the failings, or music, KJ would not have known what he wants in life, would not have learnt, more than some of us, how to live, how to be "a human being". Like he said, he would not have any regret at his dying moment, because "I know what I am doing."

Music, or life, has given him much. I like the fact that he thinks in order to learn music, you must first learn to be a human being, to feel music, or as Ms Nancy Loo put it, to "internalize it".

It will be rather difficult to forget one interview at 11, where he chatted with his father about the meaningless of life, about how this world would be better if all the humans are gone (all these he started thinking at age 7, really!) and that he would not commit suicide as he just wanted to "live a little longer." And when asked if he was happy, his answer was affirmative.

At close to 17, KJ even attempted to answer what is music. And fumble he did, and demonstrated how life, like music, is impossible, or too complex, to define.

An excellent, excellent film.

KJ is now studying music in the US, and doing it not just for the sake of competition, I believe. He wrote this on the film's facebook:

"I don't believe in Heaven. Because I believe we are all living in Heaven already. We are just blindfolded by our immature human nature, too foolish to admit."

To KJ: All the best in your "truth-seeking".

P.S.: Walking out of the theatre, a man was telling his friend that KJ is one crazy dude, and I thought:"As egoistic as any other human being, otherwise sane." We think that we all have this thing called life, this art called living, all sorted out.

Fire of Conscience

Now, when I first heard about this movie, the first thought was "another Infernal Affairs?" It seemed all so easy: you just throw two reputable actors into a thrilling plot, and voila! But once the light goes off, you'd know this is not that classic of the good cop vs bad cop genre, which is not a bad thing by all means.

Fire of Conscience starts with a sequence of seemingly unrelated, motionless scenes to keep the audiences guessing, yet knowing for sure they are somehow linked, for almost the rest of the movie. The question is how. Clever, I thought. And at the end of the movie, it added to my notion that perhaps, the lives of men are predestined and interwoven from the start.

Directed by Dante Lam, whose last movie Beast Stalker I've regretfully only watched recently on cable television, Fire of Conscience delivers realistic, powerful action sequences with a raw energy, that are heart-stopping, but totally necessary to the theme. It also has a plot that has enough twists to keep you engaged, albeit mind-boggling for some.

Both lead actors put up fairly competent performances. For me, Leon Lai, as in his award-winning role in Three (三更), delivered in his usual subdued manner. As Detective Manfred, his anguish on the injustice of never catching the pickpocket who knifed his pregnant wife, only serves to drive him on. To a lesser effect, Richie Ren's Inspector Kee, is another tragic character. He fails to find justice in an elitist system, and pushes the self-destruct button. What is interesting is that Inspector Kee is calm and never desperate, as if he is resigned to his fate, or rather, consciously tied to it.

The tagline on the top of my invite for the movie states:"The fire in one will either inspire or destroy". Indeed, there is a "fire", or a drive in all men to follow his conscience. And that is where the similarity, or our link, begins and ends.

向日葵的约定 The Promise

温馨, 感动...

A heartwarming television movie shown on Channel U last Sunday. Apparently, good things aplenty are spreading on the Net about it. I really like the acting of the two main characters, who are two people of different background, falling in love, before being forced apart. One is a young girl born with mild intellectual disability (MID); the other a young man lost at a crossroad of his life. The thought-provoking script also depicted realistically, the sacrifice of the girl's mother and the difficulties people with MID face.

Royston Tan's "Little Note 小字条"

I don't remember if I've ever written a review for a short film, so let's just take this as my first. I guess, in many ways, a short film is like a poem compared to a novel: condensed, intense and where less is more. Indeed, "Little Note" is perfect in its length and aura.

It did bother me at first: What can a film tell within 15 minutes? "Little Note" has a simple plot: The unconditional love and support shown by a single mother for her only child. I think it takes a high level of skill from its director and writer, Royston Tan, to tell a story this short and simple, yet to be able to move its audiences to tears, without leaving any gap in narrative. To me, this is most admirable.

Perhaps the film-length helped, but I found myself hanging on to each vivid, picturesque image, long after they passed. Some of my favourites inevitably involve the brilliant clouds, green hills and bicycle rides - all simple things ascended to exquisiteness.

Set against an olden days kampong, the cast put up more than a competent, seamless performance. The dialogues are spare and kept simple, leaving the beautiful score, composed by Funkie Monkies’ Eric Ng and Jim Lim, to work its sentimental charm.

Kichiku: Banquet of the Beasts

It starts with the incessant throb of a Japanese drum, which quickens and slackens in accord with the storyline.

It spirals, out of control, into hell hole. Senseless. Violent. Numbed. There is a style in it all. Senseless. Violent. Numbed. You became indifferent. You forgot when you became indifferent. Does the indifference make me stronger? The notion crossed my mind. Some in the audiences laughed with the gore, the extremity. I didn't. I couldn't. I drew no pleasure. Just numbed. Just stunned. Yet in deep thought. Senseless. Violent. Numbed. All extreme. All ingenious. Again, I was stunned.

P.S.: So, I've finally kick-started this year's Japanese Film Festival with Kichiku:Banquet of the Beasts. It was "Audition" all over again

Frozen Flower

Firstly, this South Korean historical drama takes more than six months before landing on this sunny island, suffering cuts of gay sex scene (s) along the way. Believe me, I don't think we miss much, as the gay love has nothing much to crow about and is rather over-glorified.

Though, in term of soundtrack, images and plot, "Frozen Flower" manages to better "King and The Clown 王的男人", it suffers from bad acting and casting, the chemistry like that of Jang-seng (KAM Woo-sung) and Gong-gil (LEE Joon-ki) in the latter doesn't materialise. And why the director never even once shoot the exquisite, oriental dance sequences from a wider angle or from the top, I'd never understand.

The love triangle between the King, the Queen and the Commander, Hong Lin, could have been better developed and more subtle and intricate emotionally to make this movie work. There must have been some internal struggle or confusion in Hong Lin, in his love for the King (which he obviously has, though I couldn't much see the depth, the passion.) and his attraction (or is it just sexual?) to the Queen. And the Queen's character becomes something like a background to the plot, when it should have been stronger. These two points couldn't be better demonstrated in the beautifully-crafted, underrated "Fleeing by Night 夜奔", where the nearest things to gay sex were a touch of hands and a near-kiss in a car, and Rene Liu was excellent, truly.Caught the trailer for The Storm Raiders II for the first time and was very, very impressed:

About "Departures"

I guess I have to start with a confession that I'm a Japanese movie freak - just click on the "Movie Review" label on the sidebar, you'll see.

Seeing the number of critics on the world wide web, I can't help but put in a few words for "Departures". Sentimental - checked. Moving - checked. Great soundtrack - checked. More than competent direction - checked. Convincing acting - checked.

"Departures" has to be one of my favourite movies of the year, even better directed than "The Reader" - yes, you read that right the first time. Some say it's too long, I beg to differ, as in my view, its length is only necessary for completion, and I wouldn't change it one bit. Some say it's not an epic. Agreed totally, there are no great graphic or GCI, battle or truly profound, powerful scenes. But then, it has never set out to be one, in fact I could hardly name it an ambitious work, as the nature of its story deemed it otherwise. But it works; it does what it is supposed to do, objectives met, period.

By the way, the DVD is out finally, and I just watched my. And it seems only to get better. Go buy it! Watch it for yourself!