John Woo is a director’s director, often causing other practitioners of the trade to gape and wonder “How on earth did he do that?” When they hear that a technically audacious movie like Hard Boiled cost only four million dollars to make, their amazement deepens. And when they learn that the film took 123 days to shoot, longer than most Hollywood extravaganzas, they begin to understand the amount of work, preparation, and creativity that goes into crafting such a picture.

David Bordwell, writing in Planet Hong Kong, describes how

Many of Woo’s visual tics, like freeze-frames and slow-motion walks and glances, were already passé in the West, but the “heroes” cycle allowed him to integrate them with MTV dissolving musical segues, an endlessly arcing camera, wistful silhouettes against saturated landscapes, and glamorous, anguished players. The result was a glossy synthesis of Italian Westerns, swordplay, film noir, and romantic melodrama new to both Hong Kong and the West.

“We are all learning from and imitating each other,” is Woo’s own way of explaining it. “Hong Kong in the old days got a lot of influence from American movies, especially technique. We got a lot of inspiration from the West. We used Western techniques to tell a Chinese story. We just combined elements to create a new cinematic language. Now it’s the West that is borrowing back. It comes full circle. We are all in the same film family. It is a good thing, I think.” (more…)

Maybe you first saw it at a museum retrospective or a revival theater, with the marquee emblazoned with tag-lines like, “The most action-packed film of all time!” and “More exciting than a dozen Die Hards!” Or perhaps your first taste came in a dorm room or a friend’s basement, with a piece of pizza in one hand and a brewski in the other, both forgotten as your mouth gaped and your eyes bulged. Some of you, no doubt, spied it in the Criterion Collection bin at the DVD store and, curious, made an impulse buy, thinking you were in for a particularly well-made Kurosawa-like police procedural.

Whatever the circumstances, if you’ve ever watched Hard Boiled, a 1992 movie from Hong Kong directed by a distinctive auteur named John Woo, within minutes you were privy to this:

YouTube -- click here to watch in full-screen

And your action-movie lovin’ life was never the same.

One of the great Golden Ages of cinema blossomed in Hong Kong between the early 1980s and 1997. Director Tsui Hark once described that city as the Chinese version of New York: “Very business, very crowded, very stink, and people very nervous.” But with one big difference: while New York perennially writhes in the death-grip of the Democrats’ tax-and-regulate machine, Hong Kong is a capitalist’s paradise, harboring freedoms and opportunities unimaginable in modern America. This mindset isn’t just a part of their business or political community, it’s also reflected in their films. John Woo once described the special appeal of Hong Kong pictures: (more…)

Ever since the hard boiled fiction of Raymond Chandler and James M. Cain was brought to the big screen, talk of film noir became something eternal. Thanks to notable noir scholars Alain Silver and James Ursini along with Elizabeth Ward and Robert Porfirio, we can look back at everything from “the stuff dreams are made of” to the “rules of fight club” all in one place.

Noir film has been around for a long time and last year I wrote a piece detailing my desire for a full on film noir revival. By paging through Film Noir: The Encyclopedia we can see that the genre has never gone away, but only moved in and out of mainstream popularity. Now is a great time to bring back what we’ve long loved about noir cinema, as I stated in my revival piece:

“Today’s cultural climate, with the economic downturn, soaring unemployment, and the looming threat of terrorism warrants a new desire for noir film.  It provides a perfect catalyst for a stylistically cynical and dark film movement.  Turbulent times often result in artistic genius, just look at German Expressionism.” (more…)

“It’s one of those parties where if a girl is named Jill she spells it J-Y-L-L-E, ya know…that s**t.”  –Harry Lockhart

Those who have read my piece about a film noir revival and the film Brick know that I am an emphatic fan of the noir genre.  While I have a deep love for the classics that fell within the initial movement (arguably 1941-1959), there are still some neo-noir films that spark my interest (not enough, which is why I asked for a revival!).  One of these films is the extremely fun Kiss Kiss, Bang Bang.  It is a very different noir film that is funny and opposite the dark, desperate, lonely noir films of years past.

In a rare combination of coincidences, Harry Lockhart (Robert Downey Jr.) is a petty thief in New York City who finds himself auditioning for a role in a new detective film.  He goes to Los Angeles after being accepted as a potential candidate.  Harry is a fast-talking, chain smoking and delightfully sarcastic protagonist that makes this neo-noir film one of the best.

After getting invited to a party in the Hollywood hills, Harry meets Gay Perry (Val Kilmer).  Perry is an (ironically gay) quick-witted private investigator that asks Harry to participate in a murder investigation in preparation for his potential film role.  Perry’s homosexuality plays on the theorists of the 1940’s and 1950’s that psychoanalyzed many noir protagonists as being gay men (I know, those theories are a stretch at times). (more…)

There was a time when an “adult film” meant a movie by, for and about adults, not a tawdry tale of some tatted-up, dead-eyed 19-year old with daddy issues numbly coupling in front of a video camera for the gratification of leering, backward-hatted frat boys and twitchy loners with DSL.  They don’t make many truly adult films anymore – to see what you are missing, a good place to start is 50 years ago with 1959’s Anatomy of a Murder. 

Let’s start with the cast:  James Stewart.  George C. Scott.  Lee Remick.  Eve Arden.  Ben Gazzara.  Even Big Hollywood’s own Orson Bean in a supporting part as a doctor who plays a key role in the story.  If you love movies, you only needed to get to the word “George” before you were adding it to your NetFlix queue. (more…)

Picture a quaint Victorian house in the Hollywood Hills overlooking Los Angeles.  A modest insurance salesman shows up at the door, it is opened by a maid.  There is a beautiful woman at the top of the stairs; the sultry Mrs. Dietrichson, dressed in nothing more than a towel.  She gets dressed after the salesman tells her their car insurance doesn’t have them “fully covered.”

The following conversation takes place:

–

The fast, witty, and flirtatious dialogue in this scene gives us light into how a man could possibly get seduced into what was to come.  This is of course, the big murder/insurance scam from Billy Wilder’s classic 1944 film Double Indemnity.

There was a time when dark crime films were popular both with mainstream Hollywood films and B-grade productions. McCarthyism, Hollywood censorship, and World War II among other things all played a role in the shaping and growing popularity of what became known as the classic period of America’s film noir (1940’s-1950’s). (more…)