With Tarantino’s “Kill Bill: Volume 2” out in theatres this week, it would be nice to do something a little different and investigate one of the main inspirations for his blood-soaked tale of revenge: Hong Kong cinema.
Too often these days people call things “Matrix”-like or maybe even “Crouching Tiger”-like. But these titles are a misnomer, as they themselves are tributes to Hong Kong film. But where do you begin?
First things first. There are some considerations one must make before venturing into the wild cinema of Hong Kong. Most importantly, do not watch dubbed American versions. They are often cut to be less violent and the score is often changed to something that doesn’t fit. Don’t worry about having to read the poor subtitles; most action scenes don’t have a lot of dialogue.
Next, be prepared for loose plot structure. Not everything will always make sense. These filmmakers are more interested in spectacle and movement than character arc and plot structure. These films often mix genres in extreme ways.
“From Dusk ’til Dawn” may have switched from drama to horror midway through the movie, but Hong Kong film can shift between genres from scene to scene without missing a step. So, be ready!
And if one was trying to track down the films that most inspired “Kill Bill,” then the Shaw Brothers’ films are inescapable. Specifically, a great starting point would be the films directed by Chang Che, such as “The One-Armed Swordsman” or “The Five Deadly Venoms.” These films contain much of the blood-spurting violence that Tarantino pays tribute to in “Kill Bill: Volume One’s” artery-slicing finale.
“The Crippled Avengers,” or, as it was released in the United States on video, “The Return of the Five Deadly Venoms,” is true “Kill Bill” can’t-miss viewing. At 100 minutes total, 70 minutes of pure fighting and acrobatic training sequences pervade, all shot in long shot to make it clear that there is no “movie magic” taking place.
Another Shaw’s director worth looking at is King Hu. His 1966 film “Come Drink with Me” defines the warrior-woman sub-genre that is so popular in Hong Kong cinema. The character of Golden Swallow (Pei-pei Cheng, “Crouching Tiger, Hidden Dragon”) kicks just as much ass as Tarantino’s Bride. Hu’s three-hour epic, “A Touch of Zen,” will demonstrate not once, but twice, from where Ang Lee borrowed his bamboo-grove sequence.
Moving out of the ’70s, Hong Kong film of the ’80s became dominated by two directors, John Woo and Tsui Hark.
Woo is already famous in the United States, but nothing he has made here can compare to his Hong Kong offerings, especially when teamed up with Chow Yun-Fat. Everything these two made together is worth watching, but special mention must be given to “A
Better Tomorrow,” “The Killer,” “Once a Thief” and “Hard-Boiled.” These are visual triumphs of action that Hollywood cinema will never match.
Tsui Hark is often considered the Spielberg of Hong Kong cinema. He is also a director who loved to push the warrior-woman image as far as it could go. Strong female characters dominate his films, especially “Peking Opera Blues” and “A Better Tomorrow 3.” Fantasy sword play is another staple for him, with films like “Zu: Warriors from the Magic Mountain” and “A Chinese Ghost Story.” Often hard to follow in terms of plot, Tsui’s movies will always amaze with breath-taking visuals.
These are only a few of many notable mentions, however. One should also look at anything directed by Jackie Chan (yes, he directs, too), like his triumphant “Police Story.” And while the cinema of this country is not as strong as it once was, any film by Wong Kar-wai or Johnnie To is worth catching.
For any movie lover who enjoys any of the above-mentioned movies, or just wants to know more about Hong Kong cinema in general, David Bordwell’s book “Planet Hong Kong” is a necessary read. It presents a great overview of the magic of this cinema and might even convince a few people of its superiority over Hollywood action films.
These films and reading supply a great background to appreciate “Kill Bill” on a whole new level.
