200th Review: The Handmaiden (2016)

The Handmaiden; or, The Game of Deception
     My aunt said when you hear that guests will come, drop everything and go bathe the children. The guests like the smell of a clean baby. Miss, you are my baby. My aunt also said, give the babies candy when they bathe, to teach them that bath time is sweet.
I have been aware of Park Chan Wook’s erotic thriller The Handmaiden, inspired by Sarah Waters’ Fingersmith novel, since the moment when it hit the Cannes Film Festival in 2016. I was eagerly waiting for the premiere in my country, but work obligations and health problems prevented me from going to the cinema. Later on, having heard a great deal about the plot, I was reluctant to check it out due to evidently dark tone of the picture and NSFW sequences, which are not my cup of tea. However, after grabbing the DVD version for peanuts, I finally caved in. Similarly to Park Chan Wook’s other popular motion pictures, The Handmaiden is undeniably a masterpiece in terms of cinematography and storytelling.

Release Info

Directed by: Park Chan Wook Starring: Kim Tae Ri, Kim Min Hee, Ha Jung Woo, Jo Jing Woong

Language: Korean Original Title: 아가씨 Runtime: 145 min

Synopsis
Korean peninsula when it was occupied by the Japanese. Nam Sook Hee (Kim Tae Ri) is a young girl raised in the environment of scoundrels and smugglers. She is recruited by a certain “Count Fujiwara” (Ha Jung Woo) who wants her to assist him in his con. That is to say, the Count wants to seduce Japanese noblewoman Lady Hideko (Kim Min Hee), then marry her, and commit her to an asylum so as to steal her inheritance. Nam Sook Hee’s job is to act as Lady Hideko’s maid and persuade her to marry Count Fujiwara. While initially things go as planned, Nam Sook Hee suddenly realises that other participants of the con have ulterior motives.

What We Do in the Shadows
As Park Chan Wook stated in an interview, he was presented with Sarah Waters’ novel in the early 2000s and immediately wanted to adapt the book to film, transplanting the storyline from Victorian England to Korea in colonial times. The Handmaiden is divided into three separate parts, each focusing on the perspective of one character; and in order to reinforce this uncanny feeling of witnessing the events from different angles, the director really wanted to shoot the film in 3D, but he was prevented from doing so due to limited budget.

Nevertheless, technological limitations enforced advancements in scenography and cinematography. The Handmaiden is a tragic tale about personal traumas, unfulfilled desires, and deception. The characters roam through the house of Uncle Kouzuki which is divided into two halves: the Japanese-style wing and the Western section. In this artificial homeland within a homeland, the protagonists engage in a play of false identities and false intentions while withholding true feelings for each other.

Without giving away any spoilers, the safest way to describe The Handmaiden is to call it a reflective drama about forbidden love with lots of plot twists in the course of which the villains are repeatedly outwitted. The beginning may be a bit confusing and slow-paced (I actually had to rewatch a few scenes repeatedly to understand the exposition), but the viewers’ patience is rewarded half-way through the film when Part I transitions to Part II.

With regard to performances, I absolutely love all of the main leads. Kim Tae Ri and Kim Min Hee had amazing onscreen chemistry and the presence of Ha Jung Woo was a class-act. In addition, I liked Jo Jin Woong as a creepy uncle. His role may not be as pronounced as the others, but the actor steals the finale!

The DVD version I have does not come with any special features, apart from a stylish booklet which has photos from the set, cast and crew biographies, and an extensive interview with Park Chan Wook, from which I shared some pieces of trivia.

Recommendations
All things considered, if you like period pieces sprinkled with suspense and eroticism, then The Handmaiden is the choice for you. However, please be aware that the movie has a few NSFW moments which are not suitable for family viewings. Apart from this, The Handmaiden is yet another great motion picture crafted by Park Chan Wook.Overall score: 7/10

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Godzilla and Heroine (2020) [Documentary Review]

Godzilla and Heroine; or, Tokusatsu Mon Amour
     My work with Godzilla has reached an end.
As soon as I heard that NHK television released a new Godzilla documentary in late December, 2020, I knew I had to check it out. This new look at behind the scenes focuses on the theme of female thespians who had the honour of gracing the screen alongside the legendary King of the Monsters.

Release Info

Directed by: Takeshi Yagi Starring: Kumi MIzuno, Yumiko Shaku, Keiko Mari, Megumi Odaka

Language: Japanese Original Title: ゴジラとヒロイン Runtime: 90 min

In spite of my less-than-rudimentary knowledge of Japanese, I was able to grasp the gist of the documentary. The whole thing plays like a variety show, hosted by three people: Shiro Sano (who appeared as a scientist in Godzilla 2000), comedian Tsukaji Muha pretending to be a lab doctor, and actress Megumi Han playing an android. The three hosts begin the show by explaining the concepts of “Tokusatsu” and “Kaiju” and establishing different kinds of heroines.

At this point, the documentary slightly diverges from its title because it covers a wide range of actresses who appeared not only in Godzilla movies but also in other Tokusatsu productions of the Showa era (for example, the hosts show snippets from such films as The Mysterians (1957), The Three Treasures (1959), Matango (1963), Frankenstein Conquers the World (1965), and many more). As a result, the documentary transforms into a love letter to all the actresses who played in Japanese monster movies before these pictures became too-cool-for-school across the globe.

Apart from extensive retrospectives, the documentary also provides a look at previously unknown footage from the making of Tokusatsu films. In addition, the figure of Godzilla producer Tomoyuki Tanaka is outlined in detail.

With regard to special guests, the NHK studio is visited by Kumi Mizuno who reminiscences about her time on Godzilla films, and Yumiko Shaku who shows up in her full Kiryu Squadron uniform from Godzilla Against Mechagodzilla (2002) movie. Interestingly, she is very lively and energetic while interacting with the hosts (but her character in the movies was very serious and pessimistic). In addition, former Godzilla producer/Toho president Shogo Tomiyama also appears and has a conversation with the hosts and other guests.

The documentary also features pre-recorded interviews with two other actresses, Keiko Mari and Megumi Odaka. The first actress discusses her role in Godzilla vs. Hedorah (1971), whereas Megumi Odaka goes over the story arc of her character, as presented in Godzilla vs. SpaceGodzilla (1994) and Godzilla vs. Destoroyah (1995).

Apart from these treats, Shino Sano provides a lecture-like talk about the development of Tokusatsu heroines over the years. To be honest, I would have appreciated these interjections more had it not been for the fact that Godzilla and Heroine does not treat itself seriously, constantly falling into the convention of a variety shows, because the viewers need to be entertained. As a result, we see Shiro Sano is some kind of a bar with loud music (as if he is about to promote Suntory whisky like Bill Murray) and Tsukaji Muha trying to re-enact the famous heroine screams.

I think that the documentary would have worked better if it had been a straightforward retrospective on all of the Godzilla heroines, something similar to Maryam d’Abo’s Bond Girls Are Forever (2002). In this documentary, a former Bond girl tracks down and interviews fellow beauties who appeared alongside Agent 007.

Recommendations
If you are an incurable Godzilla fan, then the documentary is definitely for you. However, you may not get any new information out of this viewing experience. All in all, it’s great that Godzilla’s heroines are still being remembered in the world of today. My respect goes to all the actresses, especially Momoko Kochi (picture above) who had the privilege of playing the first female character in a Godzilla movie.

Overall score: 7/10

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The Resisitance (2011) [Film Review]

The Resistance; or, The Mark of Ninja
     Tonight, I have to kill the general, avenge my family, and avenge the Chinese people. If tonight fails, I need you to tell everyone what has happened here.
The Resistance marks the second directorial feature of Peng Zhang Li, the kung fu master who also happens to be an aspiring filmmaker from China. Is this film an improvement over The Last Kung Fu Monk? Let’s find out together.

Release Info

Directed by: Peng Zhang Li Starring: Hu Sang, Peng Zhang Li, Jeremy Marr Williams

Language: Mandarin, English Original Title: 反抗者 Runtime: 85 min

Synopsis
China, the 1940s. After the massacre of Nanjing, the Japanese soldiers gradually took control over the Chinese territories while exploiting the local population. Steven (Jeremy Marr Williams) is an American journalist who was sent to China in order to uncover the truth about the war atrocities committed by the Japanese, but he is thrown into prison. Xiaoyu (Hu Sang) bears personal grudge against the invaders because they killed her family. As a result, she joins the Chinese Resistance. What is more, Xiaoyu acts on her own and becomes The Black Dress Killer. She single-handedly attacks the Japanese troops under the cover of the night. Her goal is to kill the ruthless General Takeshi (Peng Zhang Li).

The Vigilante’s Shadow
Whereas The Last Kung Fu Monk replicated the vibes of Bruce Lee/Jackie Chan flicks, The Resistance tries to mimic the war exploitation undertones of such popular films as Hapkido (1972), Merry Christmas, Mr Lawrence (1983), and Ip Man (2008), sprinkling it with a touch of ninja theme taken straight from Samurai Spy (1965).

In terms of technical execution, this movie is a vast improvement over Peng Zhang Li’s debut feature. The editing, pacing, and the music score are much better. Nevertheless, the presence of rudimentary CGI has to be excused in view of the fact that the Chinese industry was at the early stages of implementing the technology back in 2011.

With regard to the screenplay, the plot line is coherent and understandable, yet it suffers from a few cliches (dream sequences involving a double twist, the General doing some pain-resisting exercise with scantily clad ladies). However, I enjoyed the nods to the aforementioned films (Hu Sang looks totally like Angela Mao from Hapkido, and the General character is obviously named after Takeshi Kitano).

When it comes to performances, Peng Zhang Li really tried to do his best as a rotten-to-the-core villain, but Hu Sang outshines him as the main heroine/righteous ninja. After this picture, the actress went on to have a steady career on television. My praise also goes to Johan Karlberg as the German officer Schultz. His part might be small, but it is indeed a memorable one. Interestingly, the actress Jenny Lin (who later had a big break with Stephen Chow’s The Mermaid (2016)) also has a small role in the film.

Recommendations
All things considered, The Resistance is a Chinese war exploitation film that tries to relive the glory of previous popular pictures of the genre. It may suffer from inadequate CGI and a very messy ending, but the viewing experience is definitely better in comparison to The Last Kung Fu Monk. You can check out the film on YouTube.Overall score: 5/10
Note: My thanks go to Johan Karlberg for sharing pieces of trivia about this film. You can check out his interesting making of featurette here.

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The Last Kung Fu Monk (2010) [Film Review]

The Last Kung Fu Monk; or, The Teachings of Shaolin
     If something happens to me, I need you to promise me to take care of Michael. I just need to hear that!
Today’s review is going to be something slightly different because I am taking a look at the filmography of Peng Zhang Li, the real Shaolin monk-turned-actor/director. While initially spreading the gospel of Kung Fu in Europe, the martial artist moved to America and, in 2010, he wrote and directed his debut feature called The Last Kung Fu Monk.

Release Info

Directed by: Peng Zhang Li Starring: Peng Zhang Li, Kristen Dougherty, Hu Sang

Langauge: English, Mandarin Original Title: 最后的武僧 Runtime: 82 min

Synopsis
Li Long (Peng Zhang Li) is a monk from the Shaolin monastery who got separated from his brother when they were children. Years later, Li Long learns that his brother died in a car crash together with his wife, leaving their son Michael (Major Curda) completely alone. Li Long goes to America in order to look after his nephew. While adjusting to Western reality, he is aided by a social worker Sarah (Kristen Dougherty), for whom he develops romantic feelings. The monk opens a Kung Fu school which enjoys great popularity; however, Russian mobsters kidnap his students. In order to save them, Li Long has to participate in an underground tournament.

Living in America
Although the film is an American-Chinese co-production, one can clearly notice that it bears the marks of an indie flick with big aspirations limited by tight budget. Peng Zhang Li is evidently a fan of good old kung-fu action films, as The Last Kung Fu Monk repeats the “fish out of water” story pattern of Bruce Lee’s The Way of the Dragon (1972) and Jackie Chan’s Rumble in the Bronx (1995).

Given the fact that Peng Zhang Li is a martial artist, it comes as no surprise that the fight sequences are decently choreographed and they evoke the feels of Jet Li/Tony Jaa pictures. These scenes are definitely the strongest aspect of the film.

However, the movie suffers from a number of shortcomings as well. The plotline is very incoherent due to tons of flashbacks and off-the-wall pacing. It is only halfway through the picture that you realise who is who and what is the main goal of the protagonist. In addition, some lines of dialogue, or abruptly cut conversations, will certainly make you think about Tommy Wiseau’s The Room (2003). Yet, I believe that under the layers of questionable scriptwriting, there is some decent story to be told. Unfortunately, it was buried by less-than-professional editing.

Interestingly, the production was not trouble-free, which made the filmmaking team shoot the majority of scenes on location in China rather than New York (which is the main setting of the story). Still, the outdoor scenes do not really give away the feeling that the location is not America.

With regard to performances, Peng Zhang Li is obviously not much of an actor, but he also does not give the kind of so-bad-it’s-lovable performance of Tommy Wiseau. He is just there, trying to portray a peaceful monk. Kristen Dougherty, on the other hand, is a major disappointment as the female lead (this film was her only acting gig ever, according to IMDb). Still, I enjoyed the supporting parts of Hu Sang as a student in distress, and Johan Karlberg who played the Russian mafia boss. It is a shame though that his voice was dubbed over in post-production. In addition, I think that his character could have been given more screen time, especially in the finale which is a bit overwhelming in its itself.

Recommendations
If you would like to check out a very niche kung-fu movie cooked up by a Shaolin monk, then The Last Kung Fu Monk is waiting for you. Treat the whole thing with a grain of salt and keep an eye out on weird editing transitions. In this way, you will get enjoyment from watching well-made fights and embarrassing conversations. You can check out the film on YouTube.
Overall score: 5/10
Note: My thanks go to Johan Karlberg for sharing pieces of trivia about this film. You can check out his interesting making of featurette here.

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Negotiator (2003) [Film Review]

Negotiator; or, Seeking Justice
     Selflessness. Killing the self, is the hardest thing to do.
I admit that I am not a massive fan of Takashi Miike, but I don’t mind checking out his earlier works from time to time. In fact, I think that his movies from the 1990s/early 2000s are more interesting than later endeavours (such as Ace Attorney (2012) Shield of Straw (2013)). As a result, I was pleasantly surprised when I stumbled upon Negotiator from 2003 (not to be mistaken with Negotiator: Mashita Masayoshi (2005) and The Negotiator: The Movie (2010)). This somewhat forgotten entry from Miike’s filmography serves as a proof that the director can craft an engaging drama with a touch of suspense.

Release Info

Directed by: Takashi Miike Starring: Hiroshi Mikami, Mayu Tsuruta, Shiro Sano, Kumi Nakamura

Language: Japanese Original Title: 交渉人 Runtime: 107 min

Synopsis
Inspector Ishida (Hiroshi Mikami) and Captain Tohno (Mayu Tsuruta) are two professional negotiators who handle the most difficult stand-off situations. There are rumours circulating that they might have been in a relationship but nothing is confirmed, especially in view of the fact that Ishida takes care of his ailing wife (Kumi Nakamura). All of a sudden, a group of masked men robs a convenience store, only to leave and barricade themselves in a hospital and take 27 patients as well as 3 doctors hostage. Tohno arrives at the scene and begins the negotiations, but she is relieved from her duties by Ishida who takes over the case. It turns out that Ishida’s wife is one of the captives. Although the negotiations go smoothly and the patients are quickly released, the criminals vanish without a trace, together with the physicians...

In the Line of Duty
One could think on the basis of the title that Negotiator is yet another police procedural endowed with standard cliches and plot twists of the genre. Indeed, this seems to be the first impression at the very beginning when we are presented with Ishida’s inconsequential actions towards the mysterious criminals (who basically have no motive for taking over a hospital). However, as the story progresses, more and more backstory is revealed through extensive flashbacks (the perspectives of Ishida and Tohno are especially essential). Evidently, I am not going to spoil anything (although the film is 17 years old already), so let me just express words of appreciation for Kota Yamada and his thoughtful screenplay.

Apart from focusing on the themes of crime and (in)proper punishment, Negotiator also excels at building a very grim and dark tone. This is what I regard to be the film’s only disadvantage because even though the third act is extremely powerful and provides a social commentary on the modern judiciary system, it is also very harrowing as well as depressing. As a result, the rewatch value of the film is brought down to zero.

With regard to performances, I am not that familiar with other roles of Hiroshi Mikami and Mayu Tsuruta, but they did a great job as the leads. In addition, Kumi Nakamura was excellent as Mrs Ishida. Shiro Sano was also convincing as a police detective who is outwitted in the film’s finale. What is more, such awesome stars as Kenichi Endo, Masato Ibu, and Yoji Tanaka appear in small supporting parts.

Recommendations
If you would like to check out Takashi Miike who does not rely on a wacky screenplay, excessive gore, and special effects, then I recommend Negotiator. It is a very neat crime flick if you are in the mood for reflective dramas. Yet another Koshinin deserves to occupy a place next to Yusuke Santamaria’s film and Ryoko Yonekura’s franchise. Overall score: 7/10

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The Yellow Handkerchief (1977) [Film Review]

The Yellow Handkerchief; or, Holiday Road
     Stop! Stop the car! Step on the brakes! That's the accelerator! Stop!
Whenever I see a film by Yoji Yamada, I think I know what to expect, but this legendary director manages to surprise me time and time again! Just as when I was convinced that nothing can top The Twilight Samurai (2002) or A Class to Remember (1993), The Yellow Handkerchief suddenly arrived in a red mazda with screeching tires. Let’s take a closer look at this sweet and touching road film made in Japan.

Release Info

Directed by: Yoji Yamada Starring: Ken Takakura, Kaori Momoi, Tetsuya Takeda

Language: Japanese Original Title: 幸福の黄色いハンカチ Runtime: 108 min

Synopsis
Kinya (Tetsuya Takeda) can’t get over the fact that his girlfriend dumped him. As a result, he quits his job, buys a new car, and hits the road. Going in the direction of Hokkaido, the man is desperate to find a travel companion, most preferably a girl. He hits on Akemi (Kaori Momoi), a lone traveller who goes sightseeing in order to forget about cheating boyfriend. When the two characters reach the seaside, they meet Yusaku (Ken Watanabe) who is also heading towards Sapporo, so they offer him to join them. The three strangers find themselves in for an exciting ride full of adventures.

Towards Redemption
The Yellow Handkerchief caught me completely off guard. I was convinced that the film will be a simple slice-of-life flick with comedy elements at best, but it turned out to be a spiritual companion piece to Yamada’s other magnificent picture A Distant Cry from Spring (1980). With its unforgettable characters, touching moments of intimacy, and hilarious adventures, The Yellow Handkerchief becomes a road film classic, surpassing even the masterpiece that defined the genre: Scarecrow (1973).

I would argue that the only disadvantage is the film’s spoilery theatrical poster. Yusaku, the character played by the late Ken Takakura, is a mysterious guy with personal trauma. This constitutes the core of the film when his backstory is revealed (and how it all relates to the concepts of “yellow handkerchiefs”), but the poster, and even some online synopses, spoil the film’s ending right away! Rest assured, I am not going to share all the plot twists here. However, if you want to see the film and genuinely feel the bond with the travelling trio, then avoid the film’s info on the net.

With regard to performances, Ken Takakura blew me away yet again with his portrayal of a tough guy with a gentle heart. It is truly unfortunate that this magnificent actor is no longer with us. Kaori Momoi also steals the show as Akemi, an incurable optimist, who is always there for her friends. In addition, Tetsuya Takeda provides a much needed comic relief as sloppy but well-meaning Kin-chan. The supporting performances of Chieko Basho and Kiyoshi Atsumi (best known from Yamada’s Tora-san series) cannot go unnoticed as well.

Recommendations
It comes as no surprise that the success of The Yellow Handkerchief spawned two drama adaptations and an American remake, but the original remains unsurpassed to date. If you want to check out an emotional tale about three strangers helping each other out, then I recommend Yoji Yamada’s The Yellow Handkerchief. This motion picture will definitely leave you in high spirits.Overall score: 8/10

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