Review: King Hu's Dragon Gate Inn / Come Drink With Me / A Touch of Zen

Chinese film director King Hu made three "wuxia" (or the adventures of Chinese swordsmen/martial artists) movies that became very influential in the making of future wuxia movies. They are "Come Drink With Me", "Dragon Gate Inn" and "A Touch of Zen".  I think Ang Lee said that his Crouching Tiger, Hidden Dragon took a lot of inspiration from King Hu's films. The famous bamboo swordfight obviously pays homage to the one in A Touch of Zen.

It was very difficult to find and pricey to buy King Hu's films despite their huge stature in Chinese cinema, so I have never been exposed to any of his works until now. Below are my thoughts about his revered masterpieces.

Dragon Gate Inn (1967)

Dragon Gate Inn is probably his most famous work with Chinese mass audiences, popular enough to inspire two remakes, the latest one released just last year, directed by Tsui Hark. It has a very classic tale of good guys and bad guys gathering in a remote location (the titular inn), biding their time and trying not to get killed while waiting for their "target" to appear. And when said target finally does, hell will break loose in its entirety in Dragon Gate Inn.

The movie may be one of the classics and pioneers, but far better wuxia films have already been made since. The storyline is a lot more simplistic than I expected. The characters are the usual wuxia archetypes: the heroic swordsman in white, the woman warrior disguised as a man, her hot tempered brother, the innkeeper with a past, the evil eunuch kungfu master and his ever loyal right hand man. These characters are never explored further than their basic functions in the plot. For example, it is taken as a given that they must risk lives and limbs to protect the family of a wrongfully accused man, even though they hardly knew the guy, because, you know, they're the good guys. You can find more characterisation in the "inferior" 1992 remake, which stars Maggie Cheung (Hero), Tony Leung Ka-Fai (Detective Dee and the Mystery of the Phantom Flame), Brigitte Lin (Swordsman II), Lawrence Ng (Sex and Zen), and Hung Yan-yan (Once Upon A Time in China III), with Donnie Yen (Ip Man) playing the evil eunuch. (Holy crap!)

The biggest surprise was to find wall-to-wall non-stop action in this oldie, especially in the last hour. I love that King Hu's swordsmen fighting style is more Japanese samurai than the dance-like kungfu we're more accustomed to. King Hu's style was refreshing and imaginative in Come Drink With Me, but here it feels a tad too hack-and-slash repetitive. All the best scenes in the movie happen inside the inn, with people sneaking around candlelit rooms, flinging daggers, hatching plans, and poisoning drinks.

Come Drink With Me (1966)

Personally, this is King Hu's best. The characters in this one are still pretty flat, except for one, the titular "drunken swordsman" (the literal translation of the Chinese title). Haunted, conflicted, cunning, wise, honourable, there's some meat on these bones. Cheng Pei Pei, who was in Crouching Tiger, Hidden Dragon plays the pretend male swordsman, Golden Swallow, who is tasked to locate and rescue the kidnapped son of a government official. On the way, she bumps into helpful village drunk Fan Da-Pei, who harbours a secret past.

All the King Hu trademarks are here: corrupt villains, samurai action, girl in disguise, and yes, there's an inn too! There are some marked differences compared to Dragon Gate Inn and A Touch of Zen. Arguably, the story here is more intriguing, as it slowly unravels the motivations and backstories of some of the characters. The characters are better: Cheng Pei Pei has a standout screen presence and beauty that transcended her rote role unlike the female leads in the other two movies. The effeminate and vicious Jade Faced Tiger (played by TV veteran Chan Hung-lit) is probably the most memorable and scene-stealing King Hu villain. And the action sequences are more meticulously thought out and executed. I like that the kungfu here is more "mystical," where kungfu masters can stop waterfalls with their "qigong" or "life energy".

(Interesting tidbit: Yueh Hua (the drunken swordsman) and Chan Hung-lit became prolific TV actors later in life, even facing off each other once again in hit series "The Gem of Life". Sadly, Chan passed away suddenly and too soon in 2009, at the age of 66.)

I enjoyed it so much that I've watched it numerous times, and it was the impetus in my quest to find and watch King Hu's other films. Which finally brings us to...

A Touch of Zen (1971)

The first Chinese action movie to win a Cannes Film Festival award, lauded by filmmakers, studied by scholars, loved by... none? For a film of such stature, you would expect at least a Criterion Collection DVD. I couldn't even find the VCD edition. Someone was selling the out-of-print DVD on Amazon.com in the vicinity of USD$40, which was pricey even for a Criterion Blu-ray. I would expect someone prominent like Ang Lee or Zhang Yimou, who obviously respected King Hu's work, to champion the restoration of his most famous masterpiece.

I bring out this point because, had King Hu shot his movie entirely in daylight, the substandard DVD quality would have sufficed. But there is one long action sequence shot at night and in the dark that is nearly unwatchable because the video was too murky and dark. It definitely ruins the movie because the sequence involves a pivotal showdown among key characters. You may wish to wait for a remastered Blu-ray edition, but it may take a while, or possibly never.

Screencap of A Touch of Zen night action sequence. You can clearly see three Chinese swordsmen fighting each other.

Still, A Touch of Zen is not your usual "wuxia pian". Imagine the "2001 A.D.: A Space Odyssey" of wuxia pian, or a wuxia pian directed by David Lynch. I believe King Hu is trying to create a more artistic and abstract form of wuxia pian. It begins from the point of view of lowly village scholar Ku Shen-chai (Shih Jun, who also played the hero from Dragon Gate Inn), who gets entangled with fugitives on the run from - you guessed it - an evil, corrupt eunuch. Ku does not have a secret past, double life or even kungfu skills, so the first hour is just him poking his nose into the affairs of new arrivals in his village, and being constantly bugged by his mother to take the "government exam". It takes quite a while before the first fight scene arrives, and the action in this movie is more bloody massacre than graceful techniques. Later, the movie abandons Ku on the sidelines and takes a turn for the surreal, and concludes with an open-ended finale consisting of mindboggling Buddhist imagery. I guess its message is that vengeance is a never-ending cycle of violence that corrupts the soul, but admittedly I was actually hoping to see some kickass action.

Missing in action: An inn.

I can appreciate A Touch of Zen for showing the world that a kungfu movie can have artistry and become more than just mere crowdpleasing fares. It's definitely a unique movie worth watching once. But if you're expecting Come Drink With Me Part II, you'd be sorely disappointed. It's hard for me to recommend this movie other than as a required viewing for film students and movie aficionados. The unavailability of the VCDs/DVDs and substandard picture quality do not help either.

Conclusion:

Dragon Gate Inn - Watch it if you're curious about how the "original" is like.

Come Drink With Me - Highly recommended for casual and serious movie lovers alike.

A Touch of Zen - Important landmark for serious movie freaks only.

Review: A Nightmare on Elm Street 2: Freddy's Revenge

In my review of the original A Nightmare On Elm Street (ANOES), I forgot to mention another reason why the Freddy Krueger movies aren't scary to me. I'm not sure about your own experiences, but my dreams are usually very hazy, disjointed, frightening, monochromatic, without any sense of time, and mostly beyond my control, like as if they were scripted events - just like a movie! (See Minority Report's psychic scan sequences, which is the closest cinematic representation of dream sequences I've seen so far, even though they're not exactly representing dreams in the movie.) However, when a person dreams in the Elm Street movies, it's like he or she is entering an alternate, parallel world or dimension that progresses in real time, where people can have a substantial amount of free will, participate in conversations, and even make informed decisions! The advantage of doing this is that it keeps the audiences guessing as to whether the onscreen characters are still in the real or the dream world, making the eventual Krueger attacks more unexpected and surprising. This formula makes the movie more fantastical and sci-fi-ish and less relatable to real-life experiences.

This is where ANOES2 gets interesting, as it veers away from the formula even before the formula became formulaic. After the tragic events in the first movie, a new family moves into the Thompsons house, unaware of said happenings. Inevitably, the ghost of Freddy Krueger haunts the sole teenager in the house, this time a reclusive, geeky boy. Probably because the whole nightmare killing thing didn't work out too well the last time, Krueger tries something new, by possessing the kid's body and embark on his killings in the real world. Strangely, his logic-twisting powers in the dream world also applies in the real one. This is more ridiculous than the "alternate world" concept. Trying something new is a good thing because we don't always want to see the same old thing and Hollywood is currently notorious for being creatively bankrupt, but then again in cases like ANOES2, new doesn't necessarily mean it will work for the better.

Many movie critics pointed out the quite-apparent homosexual vibe in the movie, because A: the protagonist is frequently topless and sweaty, B: there's actually a gay bar scene and one S&M-like sequence in the locker room shower involving two men, C: one jock character even made a sober remark that the protagonist would rather "sleep with him", and D: the director claimed that he deliberately made the movie that way. True, they're there in the movie, but they don't deter the movie the way another vibe, the "B-grade vibe" does. Although very tight on budget, the first ANOES felt like a slick, big studio production, with a talented crew and director who were able to stretch every penny with just a little bit of creativity and elbow grease. ANOES2 had more budget, but perhaps with a different director and crew, the producers were unable to replicate the X-factor of the original movie. ANOES2 feels more like a direct-to-video cheapo a la Leprechaun 4: In Space.

The pinnacle of cinematic achievement

With the shift of focus on the real world, ANOES2 loses the novelty that the first movie possessed. The real world of ANOES2 isn't even an interesting place to begin with, having to follow around a mundane lead character that has no apparent appeal or any matter of interest except that he's being psychologically tormented by a supernatural entity. Therefore, I have to agree with the general consensus out there that this may easily be the weakest and dullest ANOES movie, having not yet seen anything else beyond Part 4 except for New Nightmare and Freddy Vs. Jason.

Next: A Nightmare On Elm Street 3: Dream Warriors

Related links:
Review: A Nightmare On Elm Street (1984)
The stuff of Nightmares 

Review: A Nightmare on Elm Street (1984)

Horror is a strange genre. Movies are supposed to entertain, excite, thrill, tickle your funny bone and even move or inspire you, if done right. Generally, they should affect you in a positive way. Horror movies, on the other hand, strive to affect you negatively, by shocking, provoking and/or frightening. Sometimes, you can admire the craft and thought put into the work, especially with The Exorcist, The Blair Witch Project, The Sixth Sense, etc. On a personal note, despite my respect for the genre, horror isn't my most favourite of genres, and I don't normally rush out to see the next big scare.

This may sound lame, but to me the most frightening movies are those with evil spirits resembling long haired women in white, which are probably the horror villains with the least amount of costume and makeup budget ever. (See The Ring, Ju-On, The Eye, A Tale of Two Sisters, etc.) They are frightening to me in a way clowns or lifelike dolls are frightening to some people.

That said, most Western horrors aren't very scary to me. Shocking, repulsive, maybe. But the scares rarely made me want to cower behind my blanket like the Asian varieties sometimes do. Vampires, zombies, werewolves, the Frankenstein monster, Michael Myers, Jason Voorhees, Leatherface and Freddy Krueger... they're more supervillains in a movie than something fearful on a subconscious level. They don't crawl under your skin like a good old apparation or just plain weird shit happenings could do. For example, a man standing and facing the corner of a decrepit room for no reason (The Blair Witch Project) does a lot more than the sight of a raised kitchen knife.

Yet, I still enjoyed movies like A Nightmare On Elm Street, although for the wrong reasons. Freddy Krueger, a very iconic horror staple recognisable through his trademark fedora, red and black striped sweater, Wolverine-like blades and charred face, is a memorable baddie more in the lines of The Dark Knight's Joker than a malevolent supernatural force like in the other movies I mentioned. With villains like The Joker, Hans Gruber, and Hannibal Lecter, you find yourself rooting for them despite their nefarious nature. I doubt anyone was in anyway concerned about Dr. Chilton at the end of Silence of the Lambs, and probably wished Lecter got to "have him for dinner" sooner!

Unlike other horror villains, Krueger dispatches his victims in their dreams (or nightmares) where logic and the laws of physics don't apply, which allows for creativity beyond the usual hack-and-slash-with-the-common-garden-utensil death sequences. One infamous scene depicts a teen being swallowed by his own bed, only to be regurgitated as a geyser of blood. This makes Krueger's nightmare attacks a constant highlight in every impending sequel. The Nightmare On Elm Street series becomes more of a morbidly humourous special effects showcase than a true fright fest.

"A Nightmare On Elm Street" is the kind of "must-watch" movie for the movie and horror buffs, simply because the popularity and iconic stature of the series cannot be ignored. I find the movie above-average, with some nice subversion of cliches (a trademark of director Wes Craven) marred by bad acting performances. I also didn't find it frightening for one second, but that doesn't mean you should show this one to your mum or kids either.

Also stars Johnny Depp and John Saxon.

Next: A Nightmare On Elm Street Part 2 - Freddy's Revenge

Related links:
The stuff of Nightmares

Review: A Battle of Wits (Muk gong)

State Wars
Set in China’s Warring States period, A Battle of Wits focuses on the small, city-state of Liang. Getting news of a massive Zhao army en route to Liang, the politicos of Liang, including the Liang King (Wang Zhiwen), his prince Liang Shi (Choi Si Won), adviser Si Tu (Wu Ma) and General Niu (Chin Siu-Hou) must decide to either defend their keep, or surrender to the enemy. Before General Niu manages to officiate their surrender with Zhao general Xiang Yanzhong (Ahn Sung-Kee), a special Zhao regiment has already reached the gates of Liang. Moments before, aid from Liang ally, the Mozi tribe, came in the form of Mozi brethren Ge Li (Andy Lau). Before you mock his name, I should warn you that the Mozi are known for their deft in strategic warfare, and Ge Li proves this by successfully repelling the Zhao regiment. His accomplishment earned widespread adulation, including those from the Liang prince and female soldier Yi Yue (Fan Bingbing), much to the chagrin of the jealous king. He suspects that Ge Li may try to usurp his throne, and plots to do away with the Mozi after the Zhao army has given up on invading Liang. Taiwanese star Nicky Wu plays the Chinese Legolas, Zi Tuan.

A Battle of Wits is another one of those “against all odds” movies like Lord of the Rings, Troy and 300, with a city of 4,000 up against an army of 100,000. Most of the fun in Battle is from observing how Ge Li overcomes wave after wave of attacks from the Zhao. Actually, Ge’s defensive maneuvers are more about brutality than strategy - employing many cheap, gruesome tactics like spike traps and fire pits to kill as many enemies as you can within the shortest amount of time. Although the Zhao army lost only a fraction of their men, the psychological impact is severe, demoralising Xiang’s troops who were supposed to be on their way to a bigger, more important battle up north. But Xiang himself is no idiot, and devised some sly maneuvers of his own. It’s interesting to note the Mozi’s inner conflict between the two key components of his religion - “universal love” and cold pragmatism. It’s his love for humanity and peace that brought him to Liang’s aid, but cruel logic dictates that in order for Liang to survive, Zhao soldiers must die.

Lovehkfilm.com’s Kozo described Ge Li as resembling a Jedi Knight. Apart from trudging about a sandy landscape in a brown, hooded robe, the Mozi is also very monk-like, keeps a short crop of hair, and abstains from material possessions and even a disrobing Fan Bingbing. You can say that his ability to outguess his opponent’s movements is a kind of Force power. The only thing missing is elegant sword skills and a lightsabre, though Ge is pretty wicked with a bow and a specially modified arrow.

My only gripe with the movie - the romantic subplot, which involves an improbable female soldier character in 5 B.C. China, who is porcelain-fair and pretty to boot. (Why couldn’t they just make her a Liang princess?) Admittedly, Fan Bingbing provides some much needed eye candy in a sea of grimy, ragged people that are the civilians of Liang. Either ways, it’s still leagues smarter and more entertaining than 300, and loses out to Troy only from a lack of star power (unless you see Fan, Wu and Super Junior member Choi as “stars”). It’s also better than the messily edited theatrical cut of Seven Swords. (I’m still waiting for the five-hour epic version, Mr. Tsui Hark.) Of course, in the biased eyes of this Rings fan, nothing beats Lord of the Rings. - BMF

VERDICT:





Written and directed by Jacob Cheung Chi Leung (Never Say Goodbye, Midnight Fly). Stars Andy Lau Tak-Wah, Wang Zhiwen, Fan Bingbing, Chin Siu-Hou, Choi Si Won, Ahn Sung-Kee, Wu Ma and Nicky Wu. Based on the novel Bokko by Sakemi Ken'ichi.

Reviews: A

A Battle of Wits

A Nightmare On Elm Street (1984)

A Nightmare On Elm Street 2: Freddy' Revenge

Arrival

A Touch of Zen (1971)