Wednesday, 11 March 2009

Jusco Puchong shopping.


After dinner, went to Jusco Puchong for some shopping. Brought Chloe, Suetch and pop to the indoor theme park. Chloe did not totally enjoy it though, maybe need some getting use to. Esther bought Chloe two sets of masak-masak toys for her as well...although we may get her a kitchen set for kids.

Suet Nee's Pau Pau face...


Suetch's sister, Suet Nee has a big round face as she grows...

Dinner at Sungei Way.



Tucked along the main road of Sungei Way, went for dinner last Sunday with mom, pop and sister's family to this restaurant which served some nice Chinese foods. The highlight would be the stir fried frog legs, one of my favourite dish. An interesting twist which this restaurant had done is to add/pour in Brand's essense of chicken with ginseng on to it.

Monday, 9 March 2009

Ashes Of Time (东邪西毒)











Based on the immensely popular wuxia epic, The Legend Of The Condor Heroes (射鵰英雄傳), the first part of the Condor Trilogy (射鵰三部曲), written by Louis Cha aka Jin Yong (查良鏞), Ashes Of Time (東邪西毒) (1994) is the fourth movie by WKW. In fact it would have been the third, if not for the problem laden filming and production. In between sorting out the issues, WKW went on to film Chungking Express in two months, and then continued to wrap up Ashes Of Time. I remembered watching this movie in the cinema, and after it ended, the guy next to me complained within an audible distance, in a Cantonese explicit laden comment which could only be roughly translated as "What the *&^% is this movie about??!!!". I reckoned that majority of the first wave viewers went to catch it because they believed that it was a faithful adaptation of a portion of the epic. It wasn't. Secondly, mass marketed HK martial art movies popularity were peaking during that period, thus WKW un-conventional visual style and non-linear storytelling may have flipped them off. It is a commercial failure but remained a favourite amongst critics. The film speed manipulation is applied to the hilt in the battle scenes, resulting in almost blurry shadow movements yet beautiful to ogle at. The editing is also tight, albeit in positive manner, and the coloration of the visuals are gritty, yet almost psychedelic, like a pop wuxia movie. It is not easy to understand, but after several sittings, again it would all fall together and again about memories but easily the most destructive imaginable undertaken by the characters. Another interesting part is the narration is interspersed with remarks from the Chinese Almanac aka Tong Sheng (通勝). The soundtrack is one of my favourite, capturing the mood perfectly, resulting in me hunting it high and low during those times, eventually managed to secure a copy from now-defunct Tower Records at KL.
WKW sort of borrowed selected characters from The Condor Heroes and re-imagined how their younger days would be like. The main character is Ouyang Feng (歐陽鋒) aka Western Venom (西毒)(the late Leslie Cheung). A friend of mine commented what a good looking Venom (because those who grew up on the epic sort of identified Western Venom as a vile looking old man). His nickname applied on two levels. One, his main martial art is called Divine Toad Stance (蛤蟆功) which enable him to absorbed poison and increase his internal qi. Second, his personality is said to be wrought with jealousy and malice, like a poison. Two of his contemporaries also appeared in this movie. One would be Hong Qigong (洪七公) (Jacky Cheung) aka the Northern Beggar (北丐) and the other, Huang Yaoshi (黃藥師) (Tony Leung Kar Fai) aka the Eastern Heretic (东邪). Together with two others, Wang Chongyang (王重陽) aka Central Divinity (中神通) and Duan Zhixing (段智興) aka Southern Emperor (南帝), they are collectively known as The Five Greats (天下五絕) of the martial arts world in the epic. Curiously, WKW also included the never appear before mystery swordsman only known as Dugu Qiubai aka The Defeat Seeking Loner (獨孤求敗), also from the Condor canon.
The story began with Ouyang Feng arriving at a desert from White Camel Mountain and started a tavern for travellers. At the same time, he acted as an agent for people seeking to engage the service of a swordsman or assassin to do their dirty deeds. Sometimes he would undertake the service himself. Around a certain period of each year, an acquaintance by the name of Huang Yaoshi would drop by his place. He always appeared from the eastern direction. WKW portrayed him as a very proud and confident character, true to the epic. He also does not like to conform to rules and traditions, which earned him the nickname. He brought with him a wine to be shared with Ouyang which is said to be able to erase memories. Huang muses that memories are men's biggest headache. Ouyang did not try it but it worked for Huang, who began to forget lots of things. He left shortly after and never return again. Soon, a woman by the name of Murong Yin appeared ( WKW characterised this persona as from the Murong clan of Gusu - 姑蘇慕容氏, which is in reference to another Louis Cha's novel called Demi-Gods and Semi-Devils - 天龍八部) and requested Ouyang to assassinate her brother, Murong Yang, who refuse to allow her to marry Huang. But Ouyang soon put the puzzle together and it turned out Murong Yang and Yin are the same person suffering from severe split personality. It was revealed that Huang had earlier flirted with her in an inn at Gusu but she took it too seriously. She eventually became a recluse known only as the mysterious Dugu Qiubai (this individual is mentioned only in selected novels, and one of the heroes, Yang Guo (楊過), stumbled into a cave where his tomb is and his only companion, a giant condor, taught Yang Guo the loner's heavy sword stance) who practised against her own reflection.
After this, the second act began where a near blind swordsman (Tony Leung Chiu Wai) came to Ouyang, offering his service as a sword for hire in return for money to return to his hometown. Because much earlier, Huang had killed a bunch of horse bandits and they would return anytime soon to seek revenge on the villagers, Ouyang agreed but the swordsman had to prove himself first, which he did successfully. The swordsman could still see if there were sufficient lighting but his time was running out. He wanted to return to his hometown, supposedly to see peach blossom flowers for the final time before he gets totally blind. Eventually, it was revealed that the swordsman's wife (Carina Lau) had an affair with Huang, who was also a friend of his. Because of this, the swordsman left his wife and village to roam aimlessly around. At the same time, a village girl (Charlie Yeung) appeared and approached Ouyang for help in avenging her brother's death at the hands of some militias. He refused as the girl only have some eggs as payment. He cynically advised the girl, she should worth something more herself. She refused to sell herself and cling on the hope that someone would come and help her. The bandits finally strike and the blind swordsman fought furiously but perished in the end when his sight failed as the day became darker, at the hand of a bandit who yielded his sword using his left hand. The wife was shown searching for him and came across Huang but refused to acknowledge him. It turns out her name is Peach Blossom.
The third act began with Hong Qigong engaging some bandits on a river. He is portrayed as a righteous man, who refused to kill a female disarmed bandit, as well as an easy going, simple sort of persona. He was recruited by Ouyang who noticed him resting outside his tavern by enticing him with a bowl of rice. Ouyang brought Hong to examined the corpse of the blind swordsman and warned him of the left handed bandit who took the later's life. He also bought Hong a pair of shoes, as it would bring up his price. In the meantime, Hong took noticed of the village girl as well as being pestered by his wife to return home. He ambushed the bandits and wiped them out to the last person, including the lefty whose hand he chopped off. He then seek out the militias to avenge the village girl's brother for the price of an egg. Hong lost a finger and was wounded in the confrontation. Ouyang severely reprimanded him for being unpractical. Hong countered by saying that he had become sluggish with his sword ever since he got mixed up with Ouyang, that was why he got wounded. He realised that he had slowly become cold and selfish like Ouyang, when earlier, Hong rejected the village girl plead for help. After recuperating, and refuse to continue his service for Ouyang, Hong left with his wife, heading towards the northern direction, where he would eventually become the chieftain of the Beggars Clan (丐幫). True to the epic, it was narrated that Hong and Ouyang would fought each other to the death in their old ages, in front of Yang Kuo, at the Snow Mountain.
The final act began with Ouyang reminiscence of his ex-lover, now sister in law (Maggie Cheung) back at the White Camel Mountain. He regretted the fact that due to devoting his time adventuring, his lover was neglected and eventually betrothed to his elder brother. But not without forcing himself on her first on the night of the wedding, which resulted in the birth of Ouyang Ke (歐陽克). It was revealed that he came to the desert to start the tavern in order to forget her. The vastness and emptiness of the desert reflected the desolation in his heart and persona. In further twist, the wine which Huang brought to him, was actually the last gift from his ex-lover, now dying of an illness. Unknown to Ouyang, Huang had been acting as liaison person for Ouyang's ex-lover whilst secretly infatuated with her. It is also the reason that Huang grew fond of peach blossoms, as the woman seemed to be liking the flower a lot. But he knows that the woman only has heart for Ouyang. He visited Ouyang annually to bring his news to the woman, as well as opportunities to see more of her. The last gift was for Ouyang to forget her totally but in fact, when Ouyang drank it finally, the more he tried to forget, the more he remembered.
Then the final scene showed that after receiving news that his sister in law has passed away, Ouyang burnt down the tavern and returned to the White Camel Mountain, eventually became the lord of the region. Huang suffered from amnesia and became a hermit on the Peach Blossom Island. He would also be known as Master Of The Peach Blossom Island. He chose that island because the last thing he remember is that he loves peach blossom.

Chungking Express (重庆森林) & Fallen Angels (堕落天使)



In both Chungking Express (重慶森林) (1994) and Fallen Angels (墮落天使) (1995), WKW's third and fifth release respectively, he went into overdrive with the technique of manipulating film speed, angles and editing first experimented in As Tears Go By. Filmed in part using hand held camera, these two movies defined the potpourri of pop cultures, modern trappings of lonesome individuals in the confines of a modern HK metropolis, all translated into super cool visuals, characters and off tangent conversations/narrations. To my best knowledge, Chungking Express remains the best and well liked WKW movies. Divided into two acts, the first act is about a cop, He Qiwu aka Cop 223 (Takeshi Kaneshiro), rebounding from a failed relationship by calling former female classmates for a date, jogging endlessly, eating cans of pineapples expiring on 30th May as well as trying to pick up strangers from bars. There is a reason behind all that which are both quirky and humorous. The evergreen Taiwanese actress, Brigitte Lin played an agent working for a drug trafficking syndicate, who was about to be "back stabbed" by her boss/lover. The second act is about a cop, known only as 663 (Tony Leung), also rebounding from a failed relationship with an air stewardess (Valerie Chow ~ delicious looking love scene by the way), meeting Ah Faye (Faye Wong), who worked at the local deli. She fell in love with him but pursued him in the most un-conventional ways possible, like breaking into his apartment, cleaning it as well as changing his canned foods label. The most memorable moment is when 663 stopped by the deli to drink his black coffee whilst Faye looked on. Again the accompanying song, Cantonese version of The Cranberries' Dreams, boosted the coolness factor in this one scene over the roof in my opinion. Unfortunately, the current dvd version edited the song out. In summary, it is about memories as well. This is the most fun of all WKW movies thus far.
Fallen Angels is meant to be the third act but came out as a separate movie. Who knows what WKW had in his mind at that time. This time 'round, the characters consist of a hit man (Leon Lai) on the verge of retirement, his female agent (Michelle Reis) who handles his contracts, a female delinquent (Charlie Yeung) looking for revenge on a girl supposedly marrying her former lover, and a mute hooligan (Takeshi Kaneshiro) bumped into her during one of his errants and subsequently feel in love with. The hit man muses that he is a "lazy" person, he preferred to let other people to handle his daily affairs and matters. He also concluded that one should be professional enough when it comes to relationship, thus rejecting the advances of his agent, who has grown obsessed over him (including a scene of her masturbating) after working with him for 156 days. This would resulted in his own "termination" by her betrayal. In between, he felt that life should be convenient with no strings attach, at least until his planned retirement, thus resulting in him engaging the service of a street walker by the name of Blondie (Karen Mok). WKW paid sort of acknowledgement to the world of John Woo here, with the hit man walking slo mo in stylish manner to finish off his targets as well as the "dancing" bullets and holding two semi-autos with both hands. Interestingly, one of the song reminded me of Massive Attack's Karmacoma in its execution. In the end, with the hit man dead and the delinquent finding new life as an air stewardess, the mute hooligan and the agent met each other and rode off into the breaking dawn, as she muses "although this journey would be short, for a brief moment, I feel really warm" whilst The Flying Pickets' Only You played on the background...sighhhhh.

Days Of Being Wild (阿飛正傳)


WKW second movie, Days Of Being Wild (阿飛正傳) (1991), departed from his debut totally in terms of visual style and story telling, which would eventually become his trademark, also due to Christopher Doyle's increasingly experimental take on coloration and scene setting which translated into a deliciously great visual movie. About a smooth talking, serial womaniser and rich, "devil may care" delinquent, Ah Yoke (played by the late Leslie Cheung), this movie marked the beginning of WKW universal theme of memories and its impact on the characters' lives. Ah Yoke is the illegal child of a Filipino aristocrat, who arranged for him to be released to an aging nightclub hostess (Shanghai's songstress/actress Rebecca Pan) at birth plus a monthly income to ensure she would never have to work another day in her life. The hostess refusal to reveal the identity of his biological mother resulted in his destructive behaviour, particularly in relationship with women. One of his victim, So Lai Chan (Maggie Cheung), coped by walking alone in the streets after work, after failing to convince Yoke to accept her back. This act also segued into the introduction of a cop (Andy Lau), who fell in love with her after allowing her to accompany him on his nightly beats. Carina Lau played a cabaret dancer, Lulu/Mimi (depending who is asking) who was Ah Yoke's last fling prior to leaving for the Philipines to look for his mother. In both situations, Ah Yoke would actively pursue/seduce both women, spouting some of the most memorable "lady killer" lines in the history of HK cinema. After "getting" what he wants, he would proceed to cruelly discard them, often tearing their dignities into pieces. Jacky Cheung appeared as a childhood friend of Ah Yoke, apparently hinted at as a thief/loafer. He is in love with Lulu/Mimi but is rejected by her. One of the most memorable moments is where the cop waited for So Lai Chan to call at the telephone booth whilst "Perfidia" by Xavier Cugat is playing in the background. It is achingly romantic and cool... In the end, the cop, whom has now quit and working as a sailor, met Ah Yoke by chance in a rundown hotel in Philipine. Interestingly enough, both tried to hint to one another about knowing So Lai Chan but never in an open manner. The ex-cop also rebuffed Ah Yoke's lady killer line, asking him to "grow up", agitating him quite abit. Prior to Ah Yoke's demise as a result of a gunshot in the train, the ex-cop asked him which women would he remembered/loved most (Ah Yoke always say that he wouldn't know who he loves most till the final moment), he did not answer but the audience was given a hint that it would be her. Then, came the infamous 5 minutes appearance of an unknown character (Tony Leung), who seemed to be a hustler/gambler in a low ceiling room. WKW originally wanted to make a sequel but it did not come to fruition due to the commercial failure of this movie. Interesting enough, when I first saw this movie, the opening sequence showed the cop walking in slo mo mumbling something about "not expecting to see her there" in a melancholic manner. Subsequent version open straight to Ah Yoke proceeding to seduce So Lai Chan. Apart from "Perfidia", another song include the classic "何去何從之阿飛正傳" covered by the late 80s Canto pop queen, Anita Mui.

Sunday, 8 March 2009

As Tears Go By (旺角卡門)


As Tears Go By (旺角卡門) (1988) ~ WKW directorial debut. Basically about a triad taiko, Ah Wah (Andy Lau) and his mah chye, Wu Ying aka Fly (Jacky Cheung) as well as his blossoming love affair with his cousin, Ah Ngor (Maggie Cheung). Loosely based on Martin Scorsese's Mean Street, Ah Wah is very protective of Wu Ying, who is brash, sort of a "loose cannon". However, his developing relationship with Ah Ngor made him realised there is more to life than just triad "live and let die" activities. Worth mentioning is Alex Man, the former TVB serials superstar turned recluse, playing Tony, the antagonist. Torn between looking after Wu Ying's welfare and beginning a new life with Ah Ngor in Macau, Ah Wah eventually made the fatal decision which costs his life. Memorable moments : When Wu Ying was brutally beaten up by a taiko for counter-swindling him at a game of pool, Ah Wah retaliated on his behalf at the steamboat restaurant. This scene is where WKW trademark manipulation of film speed where the actions were distorted and seemed to gorgeously "bleed" into one another, were first used. Also, the same technique was used, in the bloody finale, where both men went down in a hail of bullets after successfully "terminated" the target which Wu Ying foolishly undertook the contract from the triad godfather to "prove" his bravery. The part where Ah Ngor waited for Ah Wah to return in vain whilst the Cantonese version of "Take My Breath Away" was playing is heart breaking.

Saturday, 7 March 2009

Wong Kar Wai.




Due to anxiety, I couldn't sleep, I watched a marathon session of Wong Kar Wai (王家衛) directed movies from my dvd collection. Perpetually behind his trademark sunglass, he is one of my favourite director of all time but of late, his output has been quite stale in comparison to his earlier works. I liked his works coz of the atmospheric, expressionistic usage of color rich tones, lush visuals and eclectic musics. His movies are usually based around "memories" of failed romance and subsequent loneliness, its inverse implication on the emotions and psyche of the characters, usually a motley mix of seedy, morally conflicted characters, played by gorgeous looking actors and actresses (but then again, anyone would have looked beautiful in any WKW movies...). In his hand, what is seen as mundane daily activities are elevated to higher art form, example include daydreaming, just lying on the bed, or communing through the MRT. There is usually a narration accompanying each scenes, by various characters, reflecting their thoughts and reasons for an act. It is said that WKW movies are basically influenced by French New Wave directors like Jean Luc Godard. Not all his movies are drama laden, on occasion, there would be insertion of humours amongst the characters' conversations as well. Interestingly, WKW himself did a cameo (unrecognisable the first time), in the comedy horror The Haunted Cop Shop 2. Detractors would called his movies over-pretentious, nonsensical, rubbish whilst fans called it post modern classic. Like most "arty" movies, WKW works are not commercial hits, yet never failed to entice serious critics into giving them a thumbs up verdict. He is also notorious for changing the scripts on the very last minute and occasionally, entire scenes were edited from the final version, causing complications during production. Due to this "unpredictability", some actors and actresses have refused or gave up on any future collaborations with WKW. Credits also go to Christopher Doyle (杜可風), the cinematographer, and William Chang (張叔平), the art director/editor, both until recently, long time collaborators of WKW movies, for the stylistic editing, unique angles and coloration which helped WKW achieved his cinematic visions and experience.