Tsui Hark listens and waits to reply while Broadway Cinematheque's Gary Mak asks a question
Dangerous Encounter -- 1st Kind (Hong Kong, 1980)
- Tsui Hark, director
- Starring Lin Chen Chi, Lo Lieh, Albert Au, Lung Tin Sang and Paul Che
Say Le French May and one generally thinks of a French performing arts show (like The Anamoly Company's Anatomy-Anomaly "new circus" production) or art exhibition (such as Hong Kong-based French photographer Matthieu Paley's An Ethereal World) taking place in the month of May. But this year, the cultural festival includes a gem-filled film noir retrospective program of Hong Kong as well as French films that has been partly curated by Johnnie To; the absolutely "must see" of which for me undoubtedly is the director's cut version of Tsui Hark's still officially-banned-from-commercial-screening-in-Hong Kong's third movie.
In a Q&A session after the screening I attended late last Saturday, Tsui Hark talked of his shock upon being told by the authorities that his admittedly ultra violent film revolving around four angry, anarchic youth had been banned on the grounds that it might encourage copycat behavior; and this particularly because his work had been inspired by a then contemporary news report of angry, anarchic youth having made and let off bombs.
More than 30 years on, it strikes me as rather absurd to think that this nihilistic offering would encourage people to emulate its anti-heroes; this not least since (*spoiler warning*) the majority of them meet such violent ends (*end spoiler*). At the same time, however, there is no hiding the intensity of the disconnect with the larger society felt by the three schoolboys (Albert Au, Lung Tin Sang and Paul Che) and recently fired female blue collar worker (Lin Chen Chi) who doesn't look that much different in age from them who are the focus of this emotional -- and yes, political -- effort that begins with a fairly harmless prank but quickly and maniacally (d)evolves into so much more.
Three schoolmates -- two living in cramped public housing, one the scion of a well-to-do family -- get together to create a small bomb and set it off inside a cinema seemingly just for the hell of it. Their exultant celebration of the success of their scheme is prematurely cut short by the realization that a young woman can ID them as the responsible parties for the incident, and that she wants to effectively blackmail them into carrying out acts even they might think is beyond the pale.
But trouble truly only comes after they have a violent encounter with an American mercenary and get their hands on a rich stash of Japanese bank drafts that he had with him -- and that the American mercenary's merciless boss badly wants back. And lest it not be clear: nothing, not even the fact that the young woman's brother (Lo Lieh) is a tough police detective, is going to stand in their way in their bid to retrieve their valuables...
At the conclusion of the film's screening, an enthusiastic round of applause broke out in the cinema hall. And if the work's director hadn't been clear that Dangerous Encounter -- 1st Kind had won many fans in that screening's audience, I'm sure he was left with little doubt of this fact by the end of the one hour Q&A he generously stayed to do -- a session that was filled with more than one voice telling him in no uncertain terms how they preferred this very sincerely-felt Hong Kong movie to his more recent works (including multiple Hong Kong Film Awards winner Detective Dee and the Mystery of the Phantom Flame which, incidentally, did not make my top ten Hong Kong films of 2010 list).
- Tsui Hark, director
- Starring Lin Chen Chi, Lo Lieh, Albert Au, Lung Tin Sang and Paul Che
Say Le French May and one generally thinks of a French performing arts show (like The Anamoly Company's Anatomy-Anomaly "new circus" production) or art exhibition (such as Hong Kong-based French photographer Matthieu Paley's An Ethereal World) taking place in the month of May. But this year, the cultural festival includes a gem-filled film noir retrospective program of Hong Kong as well as French films that has been partly curated by Johnnie To; the absolutely "must see" of which for me undoubtedly is the director's cut version of Tsui Hark's still officially-banned-from-commercial-screening-in-Hong Kong's third movie.
In a Q&A session after the screening I attended late last Saturday, Tsui Hark talked of his shock upon being told by the authorities that his admittedly ultra violent film revolving around four angry, anarchic youth had been banned on the grounds that it might encourage copycat behavior; and this particularly because his work had been inspired by a then contemporary news report of angry, anarchic youth having made and let off bombs.
More than 30 years on, it strikes me as rather absurd to think that this nihilistic offering would encourage people to emulate its anti-heroes; this not least since (*spoiler warning*) the majority of them meet such violent ends (*end spoiler*). At the same time, however, there is no hiding the intensity of the disconnect with the larger society felt by the three schoolboys (Albert Au, Lung Tin Sang and Paul Che) and recently fired female blue collar worker (Lin Chen Chi) who doesn't look that much different in age from them who are the focus of this emotional -- and yes, political -- effort that begins with a fairly harmless prank but quickly and maniacally (d)evolves into so much more.
Three schoolmates -- two living in cramped public housing, one the scion of a well-to-do family -- get together to create a small bomb and set it off inside a cinema seemingly just for the hell of it. Their exultant celebration of the success of their scheme is prematurely cut short by the realization that a young woman can ID them as the responsible parties for the incident, and that she wants to effectively blackmail them into carrying out acts even they might think is beyond the pale.
But trouble truly only comes after they have a violent encounter with an American mercenary and get their hands on a rich stash of Japanese bank drafts that he had with him -- and that the American mercenary's merciless boss badly wants back. And lest it not be clear: nothing, not even the fact that the young woman's brother (Lo Lieh) is a tough police detective, is going to stand in their way in their bid to retrieve their valuables...
At the conclusion of the film's screening, an enthusiastic round of applause broke out in the cinema hall. And if the work's director hadn't been clear that Dangerous Encounter -- 1st Kind had won many fans in that screening's audience, I'm sure he was left with little doubt of this fact by the end of the one hour Q&A he generously stayed to do -- a session that was filled with more than one voice telling him in no uncertain terms how they preferred this very sincerely-felt Hong Kong movie to his more recent works (including multiple Hong Kong Film Awards winner Detective Dee and the Mystery of the Phantom Flame which, incidentally, did not make my top ten Hong Kong films of 2010 list).
***
For the record: the Q&A session was conducted mainly in Cantonese, with Gary Mak translating both questions and answers into English. However, two people, including myself, asked questions in English -- and Tsui Hark directly responded to them in English that is far more perfect than one might expect of the maker of a film with such infamously fractured English subtitles as Peking Opera Blues.
Re the two questions I asked: the first was whether he would ever make a Hong Kong movie again (like Dangerous Encounter: First Kind clearly is and such as Detective Dee... and All About Women patently are not). Like he did all evening, Tsui Hark didn't decline to answer or anything of the sort. Instead, after telling me "That's a very good question!", he confessed that he has asked himself precisely that -- and proceeded to explain in some detail that this was due to "the market" having changed and funding for films being far harder to come by these days in Hong Kong than Mainland China.
The second query I had for the auteur, I told him, came from his mention of Shanghai Blues earlier in the Q&A (as a work in which he tried to be more optimistic in reaction to similar things and situations as those had inspired him to make Dangerous Encounter -- 1st Kind). More specifically, I wanted to know if a third Blues movie had ever been planned (to complete what would then have been a Blues trilogy) -- and if so, might this third Blues movie be Hong Kong Blues?
Tsui Hark openly confirmed that there indeed had been a third Blues movie planned. But around the time that he had started to think in earnest of making it, "the market" had changed. Consequently, he had had to put this plan on the backburner... And while he seemed left unsaid that some day, he might like to return to this project and bring it to fruition, in another part of the Q&A, he did talk about how he was trying to not only work in the current system and condition but, also, see what and how else he could do in down the road.
All in all, it was very interesting to hear Tsui Hark talk at such length -- and to find that he seems to have that mix of idealism (still) and pragmatism with regards to film making that I first encountered in conversations with Peter Chan Ho San. Almost needless to say, I came away from this experience with a renewed sense of respect for him -- and in no small part because he never condescended to the audience and, instead, treated them very much as people with a fellow deep love and care for Hong Kong cinema.
My rating for the film: 9
My rating for that evening's film experience: suffice to say that I consider it to be among the highlights of my more than four years in Hong Kong thus far! :)
Re the two questions I asked: the first was whether he would ever make a Hong Kong movie again (like Dangerous Encounter: First Kind clearly is and such as Detective Dee... and All About Women patently are not). Like he did all evening, Tsui Hark didn't decline to answer or anything of the sort. Instead, after telling me "That's a very good question!", he confessed that he has asked himself precisely that -- and proceeded to explain in some detail that this was due to "the market" having changed and funding for films being far harder to come by these days in Hong Kong than Mainland China.
The second query I had for the auteur, I told him, came from his mention of Shanghai Blues earlier in the Q&A (as a work in which he tried to be more optimistic in reaction to similar things and situations as those had inspired him to make Dangerous Encounter -- 1st Kind). More specifically, I wanted to know if a third Blues movie had ever been planned (to complete what would then have been a Blues trilogy) -- and if so, might this third Blues movie be Hong Kong Blues?
Tsui Hark openly confirmed that there indeed had been a third Blues movie planned. But around the time that he had started to think in earnest of making it, "the market" had changed. Consequently, he had had to put this plan on the backburner... And while he seemed left unsaid that some day, he might like to return to this project and bring it to fruition, in another part of the Q&A, he did talk about how he was trying to not only work in the current system and condition but, also, see what and how else he could do in down the road.
All in all, it was very interesting to hear Tsui Hark talk at such length -- and to find that he seems to have that mix of idealism (still) and pragmatism with regards to film making that I first encountered in conversations with Peter Chan Ho San. Almost needless to say, I came away from this experience with a renewed sense of respect for him -- and in no small part because he never condescended to the audience and, instead, treated them very much as people with a fellow deep love and care for Hong Kong cinema.
My rating for the film: 9
My rating for that evening's film experience: suffice to say that I consider it to be among the highlights of my more than four years in Hong Kong thus far! :)
