Last night, I was out with Joanna, my sister, for some brother and sister bonding time. Bonding was never so good as we decided to spend most of it sitting in the middle back of a cinema theater, eye feasting a Chinese epic movie: "Warlords" (a.k.a. Tau Ming Chong). Not that I'm being bias towards Chinese methods of directing, but since "Internal Affairs", there's barely any that appealed commendable enough to captivate my attention. Nonetheless, I succumbed to my sister's persistent wish, finding myself ironically fastened to my seat at almost every moment of the film.
The WarlodsDirector: Peter Chan
Genre: Action
Cast: Jet Li
Andy Lau
Takeshi Kaneshiro
Synopsis: It's a heroic tale of three blood brothers and their struggle in the midst of war and political upheaval. It is based on "The Assassination of Ma," a Qing Dynasty (1644-1911) story about the killing of general Ma Xinyi. source: imdb
After 160 minutes of intense fight scenes, Chan's dull yet gory mood of picture, intelligent composition of plot between the three main characters, considerable slow-downs of pace for audiences to reflect on the characters and beautifully crafted breathtaking key moments, this $40 million chinese epic is definitely worth a watch. I give it a 8.5/10 rating, partly for Jet Li's carefully choreographed fight scenes, the twist in plot, and the bombastic images of a humongous scale of production. However, what really intrigues me is how Peter Chan succesfully depicts the dynamic characters of the trio (Jet Li, Andy Lay and Takeshi Kaneshiro), leading the audiences alongside a strong blood brotherhood bond as the trio emerges victory throughout their various war campaigns and yet, at certain points, forces the audiences to penetrate pass the 'brotherhood' front, and to see the trio as individuals -human beings that share different standings and mindsets as well as values- here, tearing the audiences apart as they struggle to take sides. The arising conflicts eventually made way to the brotherhood's downfall, and the death of the trio. One of the main elements that impresses me the most is the performances of the trio; their acting commences such quality that it seizes even a split second of mind-slip.
I enjoy especially Chan's usage of close-ups to highlight the actors facial performance, it was fantastic. Never thought I Jet Li is actually capable of acting since his many hollywood flunks assured me he'd best retire as an actor and live off his remains as a fight scene c
horeographer. After this film, Li, I apologize. One of the shots I remember clearly of Li's acting is the part when he finds out that his lover was killed as he was wiping his face. Having the towel remaining on his face, Li wept painfully -what can be seen is only the somber movements of his fingers as they held the towel tightly to the face. Unlike conventional methods of depicting emotions (if he's gonna cry, give a close up of 'em teary eyes man!), I am very impressed by Chan's direction as I realized that by hiding Li's face behind a towel, the pain is felt even more. Throughout the entire film, death is everywhere, and everybody weeps -from the mother of fallen soldiers to the shedding of tears of victory, tears were plentiful in the film. Yet the most significant sorrow is the death of General Pang's most beloved woman, his inamorata, his life as Kaneshiro quoted in the beginning of the film as a voice over. How then would he portray the most significant tear? It was by not showing it, it was by hiding it behind a towel -and allowing the audiences to imagine it themselves. And that, to me, was brilliant.
As for Andy Lau, I particularly liked the moment he was in chains and when he was arrowed to death, these key moments couldn't have been any better if not for his acting that elevated them.Still, throughout the film... Andy Lau was really just being.. "Andy Lau". If you're a big fan of his acting, you'll leave the theater with a fat grin.
Lastly: Takeshi Kaneshiro. This dude seriously ain't just a pretty face. Despite given a few repeated lines (that if he had conducted poorly would have him as a retard rather than a warrior), and loads of shots in which he doesn't say a single thing, Kaneshiro's depiction of the character Zhang Wen-Xiang made him no less a good actor as the other two. Kaneshiro's asset, if I were to commend, would be his eyes -those big eyes that could he pose for male mascara would've earned him a fortune, he resided to using them as as a tool for manipulating the audiences emotions. Now no wonder he gets more close-ups than the others would! Still, to say
that Kaneshiro's blooming performances is only limited to close-ups would not be exactly correct. Note the part when he encounters Er-Hu's dead body -and the fact that there's no close-up, but a semi long shot of his body movement going towards the dead body and then before reaching it, paces backwards. This one shot definitely reminds me of Fredo Corleone from the Godfather as he witnesses Don Corleone's dead body and dares not advance to it, rather, stays where he is in disbelief and cries. Kaneshiro's version, however, is so much better, cheers. Besides that, I recall also a close up shot of Kaneshiro repeating the lines "Big brother is right" -and the fact that I really loved the effect the shot gave to me (a hypnotic feel), but had a few audiences around me that took it otherwise and kept laughing out loud, sadly, I can't but deem them as people poor in wits and unworthy of the watch. All in all, the trio was a perfect combination of actors, once again, urging you, A MUST WATCH!* * * * * * * * * * *
Movie reviewing aside, I have here a written piece that I'd like to share. It was written as an essay for my University application. "Write a one-page profile of an original fictional character, whom you consider to be truly unique. Do not describe an acquaintance or take a character from an existing film, television program or book. Describe this person in terms of appearance, social background and psychological attitude. What makes this person interesting?" I must thank my beloved xiao for helping me with the grammars especially, I could not have written it if not for her.
"Je m'appelle Leon, Aimé Leon." his pouty lips spoke. Gazing with what mellow droopy eyes of his as his long fingers brushes through his brown curly hair – and then, so charmingly as by habit, his index finger gently cruises down his bulbous nose ever so lightly before it advances down to his chin, and there it rests – what a picture, like the picture of 'the thinker' – what charm! Everybody loves him, everybody loves Aimé Leon – especially when he attempts "Apa khabar? Nama saya Aimé Leon." in that French tongue of his, everybody adores him!
Aimé Leon, son of a renowned couple of tycoons and entrepreneurs – Papa and Mama Leon, flew from the love-laced streets of Paris to Malaysia's tropical grace at the tender age of 5, as his parents prey on opportunities of the tropical tourism industry. The 5-star chain Hotel La' Leon, branched in just about every high-end area in Malaysia, adorns each city with its majestic splendor. As Aimé aged into adolescence, and the fame of the Leons soared – him being the sole heir of Papa's empire, prospered in the eyes of everyone. Oh, the connections he had! The sons of rulers of the country, the daughters of men who can afford nations; every function has his name on the VIP list – the daughters and mothers fawned over his chiseled features, features so distinct from the locals. Mingling amongst the rich and the powerful – the superior inclusions, special invitations and lavish dinner parties – Aimé is significant and indispensable; through such reserved experiences, Aime grew mature.
However, although he is obscenely rich, Aimé Leon is not smug or proud like most of his peers. A philanthropist at heart, Aimé yearns to reach out beyond the gold-coated gates of the upper class, to the poverty stricken dwellings of the unfortunate. Being the natural leader – the Leo in his great circle of friends, Aimé's speeches broadened horizons and influenced minds. As with what natural charm he possessed, Aimé believed that he can utilize it to heal the world. In the light of this, Aimé started foundations for the poor, enthusiastically and in fervor. Aimé thinks... no, knows that he can bring his "do-good" philosophies to the far reaches of the Earth, to influence them all, to influence the whole world!
Ironically, what makes Aimé Leon interesting is not the suave gestures; or the big heart; or the big-time connections; or ambitious mindset. Rather, it is his utter obliviousness and childlike ignorance towards the veritable truth. The veritable truth: was it charm they saw in that bulbous nose? Or rather, the dollar bill imprinted on his forehead? - was it maturity he saw when attending the countless important functions? Or rather, the senseless spending of the rich alongside an image to uphold, never any meaning to it. - Did he see himself significant? But not note that he is probably just another rich-man's-son-figure to merely beautify the banquet? - What with the many foundations he recklessly erected? Did he not cringe at the many deficit bills the foundations ran under? Oh, Papa and Mama had shielded him from them, out of love! - And seriously, feed the poor? Aimé never lived a day without food! - And to influence the world? What world has he known of other than the one of his own?
The fascinating thing about Aimé Leon is that he reflects all of us – humans – as oft times, we think we are what we are not, and live through life oblivious of the veritable truth. More interestingly, is the thought this character poses to us: Will he, when eventually confronted by the harsh reality of truth, still remain as Aimé Leon?
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