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Lau sing yue (1999)
Some trivia about this film
Some interesting trivia to share, especially for those who enjoyed the film.
This film is not the director's most outstanding, but is the product of a Hong Kong that was still suffering from the 1995 financial crisis in Asia. The film industry there hit rock bottom, and in 1998 the director joined a project where producers and investors of a film shared the financial risks to save costs, and where the actors took little or no compensation, in hope of reviving the film industry there. The Kid is first film born of this project.
According to the director, the film was inspired by Chaplin's comedy by the same name (The Kid). He recalls an encounter with a lonesome pregnant woman on a bus, and her sad expression contrasting with the coldness of the people around her touched his heart. Being inexperienced making comedies, he started off wanting to make one for a change, using Chaplin's film as a reference. However, despite his intentions, he ended up with a drama with with more sad than comedic elements, something he has proved to be more his style.
Shi mian mai fu (2004)
When Chinese cinema goes Hollywood
I just happen to have caught this movie and would like to pitch in my comments.
The Good ======== This piece is definitely eye candy, with each scene and shot painstakingly constructed and planned to look beautiful. The rich, contrasting/matching colours that reminded me of Hero. To a point where I was wondering how much, if any, processing was involved. It sure had some of the most beautiful faces in Asian cinema too. And to add, there was skin in all the right places. The whole movie actually reminded me of a deliberately slow dinner, just so to make you appreciate how elaborate it is...
It's a good sign that Zhang et al are doing this and that to move Asian cinema into Hollywood too. That aside...
The Bad ======= Personally, I didn't really like this "trilogy" too much (this, together with Hero** and Hidden Tiger, Crouching Dragon). To me, there is too much of an obvious attempt to provide what is thought to be what the North American/Hollywood movie-goers want. Beautiful, exotic faces, costumes, culture and scenery. Unbelievably amazing martial arts (of the three, HoFD is probably the worst). Yes, cool but it's done to a point where I'd call exploitation. Honestly how many more of these can be made?
**Hero, however, has at least one cool idea in its construction, in addition to all the beautiful/exotic components. This makes it my favourite among the three, if I must pick one.
I understand this is what might have been necessary for Asian cinema to cross over to mainstream, but I'd prefer a genuinely Chinese (or Asian) film any time, if you know what I mean.
Jigureul jikyeora! (2003)
first cult movie from Korea
This turns out to be the sleeper hit for me at the Toronto International Film Festival 2003. Drawn to the film by its enthusiastically-made official website in a language I barely understand, I walked into the theater being wary it was an odd melange of genres -- horror, alien, romance, comedy, satire, environmental... and walked out of the theater impressed and having had a hearty laughing session.
One advice is bring with you an open mind. Korean films are their own genre and different, and if you appreciate their culture you would appreciate the films too.
It was the director's first feature film, and sadly from the Q&A session, it appears that it might be the only one for a while to come. Realistically, it would be difficult to come up with a similar genre of a film that would be as fresh and interesting too. The film did fetch a hot response at the Toronto screening but the director admitted it only lasted in the the local theaters for two weeks, his explanation being it was mistakenly marketed as a romantic comedy, which it was totally not. I suspect the audience there is not ready for such a movie. On the other hand I believe the North American audience is eagerly waiting for a cult movie like such.
Without giving too much away, I'd say the director is ingenious. He actually made me laugh at the same jokes twice. There are little cliched moments (for example right at the end) but this is the part of the quirkiness that makes Korean cinema fresh and new and interesting.
Lunch with Charles (2001)
Not bad at all, for his first film!
I had the chance to catch the film during this year's Reel Asian Film Festival in Toronto. If the film were a ride, I'd say I enjoyed the whole ride throughout. Imagine my surprise (and that of the audience) then when, during the Q & A session, I learned this was the director's very first movie. Before this, he hasn't even produced a short.
The director did an impressive job pulling the resources together. The contrasts among the actors and the locations (scenic BC and grungy Hong Kong) created an enjoyable experience for the senses. For example, it was hard to imagine the characters played by Sean Lau and Bif Naked would work well together but they did, and with good chemistry. Overall, it was a simple story well-delivered to create a heart-warming film.
Among the things worth mentioning, Sean Lau is actually quite a well-known and seasoned actor in Hong Kong. He plays convincingly the wannabe rock star from Hong Kong who is sterotypically lacking in his English skills. Bif Naked is a singer who presumably never acted before and yet she was a natural when playing her colourful character.
The following are some other interesting trivia I learned from the Q & A I attended. For the readers' safety, there are no spoilers until the very end where I mark <<SPOILERS>>.
- There was a lot of humour throughout the film. However, during the film's various screenings in China, Hong Kong, Vancouver and the States, it was noted the audience from the different geographical locations reacted differently. For example, there was some humour that only those from a Chinese background found funny. In addition, I was told the audience from Shanghai also reacted differently to certain scenes than the audiences in Hong Kong.
- Nicholas Lea (from the X-Files?) was credited as the executive producer because he asked for it, in lieu of better pay that he should be receiving for being a well-known actor.
- Due to budget and time constraints, the main cast never rehearsed together until the actual filming.
<<SPOILERS>>
- Of the two obvious possible endings, the one that was used was not the one I expected. Interestingly, I learned also from the Q & A the film staff noticed it turns out that, most of the the "Western" audience expected Tong and April to be separated together in the end because of their differences. OTOH an Asian audience actually expected them to be reunited. After all, they spent the whole film looking for each other!
- In case it was not obvious, in the end, Natasha was on a plane, supposedly heading for Gloucester in search of her fairies. It was not very obvious, and the producer admitted it could have been done better there.
Wandafuru raifu (1998)
touching, nice surprise
This was one of the many films I picked for the Toronto International Film Festival (1998?). Without knowing much about it beforehand (thanks to the brief description in the film festival guide :\), I did not have much expectation, and I would say it turned out to be a pleasant surprise for me. Somehow it touched me profoundly, and I was left pondering long after. I wish it would found its way to Toronto's mainstream theatres...