When this film surfaced, the Hong Kong studios were good for a couple of notable films a week - sad contrast to their post take-over output. It seemed that Chow Yun-fat was in most of those. He aged on the screen in front of us.
In this one, he pulls the trick familiar with the earlier generation of the Colony's stars and, having done his piece in the beginning, only re-appears for the big finale. Another actor plays the character as a student, with Chow showing up with Temples silvered - and still registering in his small footage. His reaction, at feeling the pistol held at his head, is vintage Chow.
Without him, the piece would still be interesting, dealing with Chinese students studying in pre-WW2 Japan, where they are held in contempt. The non macho Yu Tat-fu appears to lose the girl to his kendo adept friend but all is not what it seems.
The thirties Japanese setting is particularly effective, with striking images of the heroine under her parasol on the old bridges and framed in the trees round the pagoda. The distinction made between Chinese and Chinaman is intriguing.
Performanmces are adequate but, while still repaying attention, the piece feels too rushed to be a major work. It leaves this old Chinatown hand bathed in nostalgia for the great days of their Cinemas.
A CVD copy has the original film sub-titles which are near illegible on many scenes.
In this one, he pulls the trick familiar with the earlier generation of the Colony's stars and, having done his piece in the beginning, only re-appears for the big finale. Another actor plays the character as a student, with Chow showing up with Temples silvered - and still registering in his small footage. His reaction, at feeling the pistol held at his head, is vintage Chow.
Without him, the piece would still be interesting, dealing with Chinese students studying in pre-WW2 Japan, where they are held in contempt. The non macho Yu Tat-fu appears to lose the girl to his kendo adept friend but all is not what it seems.
The thirties Japanese setting is particularly effective, with striking images of the heroine under her parasol on the old bridges and framed in the trees round the pagoda. The distinction made between Chinese and Chinaman is intriguing.
Performanmces are adequate but, while still repaying attention, the piece feels too rushed to be a major work. It leaves this old Chinatown hand bathed in nostalgia for the great days of their Cinemas.
A CVD copy has the original film sub-titles which are near illegible on many scenes.
