Hard Boiled is a film that serves as not just a great movie in its own right, but as a fitting capstone to a complete body of work. The highly-charged stories, emotional spectrum, visual magnificence, and moral subtext of John Woo’s “heroic bloodshed” canon owes everything to the circumstances of the man’s early years. His is a directorial mind forged in the crucible of a hard but spiritual life.

He came into the world as Wu Yu-Sheng in October, 1946. Originally hailing from Guangzhou (Canton), in the south of China, his family fled to British-controlled Hong Kong in 1950 to escape the newly organized Communist government. Woo and his parents lived in a shantytown slum until a terrible fire destroyed the whole works in 1953, then survived on the streets for a year before finally settling in government housing. “The neighborhood had lots of drug dealers and gangsters,” Woo says, “There was gambling and prostitution. Every day I had to deal with a gang. I used to get beat up by a gang and I used to fight back very hard. I got in lots of fights. But I had great parents who taught me to go straight and to live with dignity and be a decent man.” His father soon contracted tuberculosis, and would die from the disease while Woo was in his teens. “Because we were poor,” Woo says, “I always thought we were living in hell.”

Throughout those grim years, only two things kept Woo’s spirit intact. The first was an event he now sees as miraculous: he became the beneficiary of an anonymous donation from an American family intended to send destitute Chinese kids to school. “I was deeply impressed,” he says, “with the altruism of the American family who paid for my education that my family valued but was simply unable to supply.” Soon Woo was in a Lutheran school and attending church, with the goal of both to “make decent young men and women out of us slum-dwellers. And, I must say, the school achieved its aim.” (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:

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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…)

Michael Mann’s Public Enemies was one of the most anticipated films of the year (Read my Parcbench review here, John Nolte’s slightly opposing view here). However, it seems that many critics are drastically underrating this film. This is unfortunate because even though the film may not be the gangster movie we are used to; it sure has hints of perfection throughout. After reading many reviews panning this film, I decided to give it a second look.

There were still some obvious flaws. There are a couple of choppy edits as well as questionable music in the scene where Dillinger walks into the cop shop. But the flaws most people discuss don’t seem to be a true flaw at all. I’ve heard and read many people say the film has no depth and the characters are shallow. This is simply not a fair assertion.

The film may appear shallow to some, but it doesn’t give us anything we don’t need to know. That is exactly what makes this film enjoyable; there is no abundance of useless information. It is about Dillinger’s short time as public enemy number one, nothing more. (more…)