Mark và his cousin who are living in war-torn Saigon, both fall in love with the same woman--a female gangster, who turns out lớn be the person from whom Mark learned all of his best moves.
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Released in United States 1990
Released in United States January 13, 1990
Shown at Chicago Art Institute Film Center January 13, 1990.
Released in United States 1990 (Shown at AFI/Los Angeles International Film Festival (Africa/Middle East/Asia-A Tribute to lớn Tsui Hark & Cinema City) April 19 - May 3, 1990.)
Released in United States January 13, 1990 (Shown at Chicago Art Institute Film Center January 13, 1990.)
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The unloved third movie in a trilogy. How often have we seen this? From the classic examples of “The Godfather Part 3” to “Drunken Master III (This movie does exist sadly!) we see the final parts deemed lớn be the lesser work và whilst there are good ones, they are generally the exception to lớn the convention. With “A Better Tomorrow III” there was already some consternation prior khổng lồ its release. Director of the original two John Woo had a public falling out with producer Tsui Hark, with both going their separate ways và to eventually release two films with similar settings. The subject of this reviews by Tsui Hark, & “A Bullet in the Head” by Woo. This however is not a sequel but a prequel to lớn the events of the first two. With both directors having differing philosophies it poses an interesting question. Vì chưng you watch it expecting more of the same from the previous two? Or do you allow it lớn breathe as its own entity?
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Set in 1974. Mark (Chow Yun Fat) and his cousin Mun (Tony Leung Ka-Fai) head khổng lồ Saigon lớn bring Mun"s father (Shih Kien) back to lớn Hong Kong. Mark is confined at the airport by corrupt security only khổng lồ be saved by Kit (Anita Mui). They encounter her later at a night club và find that she is involved with the local criminal organization. She takes them under her wing & brings them into the business. A love triangle forms between them despite the clear attraction between Mark & Kit, which is further complicated by the arrival of Ho (Saburo Tokito), Kit"s former lover và associate. Mark & Mun return to lớn Hong Kong with their father only for tragedy lớn ensue as he is killed by a bomb set up by Ho. A final confrontation in Saigon is inevitable as emotions run high & violence ensues.
This is very much a Tsui Hark production as opposed to continuing with the themes established in the earlier two, for both film-makers have differing ideologies when it comes khổng lồ their cinematic creations. Let"s start with the biggest alteration. John Woo, for all his romanticism, has never been one for creating strong female characters, a legacy continued from his mentor Chang Cheh. For the first two parts of the series that he directed, the female characters were marginalised or plot devices. Here Anita Mui"s Kit is front và centre virtually from the outset, representing Tsui Hark"s interest in much stronger female roles. This change subverts the usual brotherhood element present in Heroic Bloodshed và creates a more traditional romance. She is a modernised equivalent of the female Knight that would crop up in the swordplay productions in the same way John Woo"s leads were the male versions. The crucial difference is that, for the most part, Kit is the one in control. She is the one that sets up the deals, is experienced in the way of the underground and, most controversially at the time, is the one that teaches Mark khổng lồ shoot. She is such a dominating figure for the majority of the screen time that it is Mark that becomes the secondary character, creating a complete gender reversal from the normal expectations. It is not until the finale that we get the Mark of the first film emerge but it is Kit who completes the traditional journey of a knight errant in this particular narrative.
For this lớn work it requires a strong actress and you wouldn"t find many better in Anita Mui. When you are able khổng lồ outshine Chow Yun Fat, then you really have screen presence. What"s more she is able khổng lồ make this situation believable. This being a prequel, it makes it understandable that he would not be the fully realised iconic figure from the original. Yet for a female character to be responsible for this evolution would never occur in a John Woo film. In Tsui Hark"s world, however, this is perfectly natural. It"s a superb performance và throw in her rendition of “Song of Sunset” as the theme tuy vậy and it"s a complete showcase for her talents. Chow Yun Fat is his usual charismatic self as he gradually takes on the elements that will define Mark, the shades, raincoat etc, but also he gets khổng lồ play with the character too. There is more naivety khổng lồ his portrayal và is comfortable acting less cool than in the more stylised Woo features.
As with “A Bullet in the Head”, the Vietnam setting plays as an allegorical reaction to the Tiananmen square events that had a deep impact at the time. The fear of change, the uncertainty of a new regime taking over. All this feeds into the narrative that is played out. Some of the visuals – see the tank sequence towards the conclusion as an example – are clear representations of the news reels but it never feels forced onto the viewer.
The action sequences again reflect the different directorial tendencies. This was as far as my recollection goes Tsui Hark"s only feature that could fall under the heroic bloodshed sub-genre. The scenes are well shot, staged và executed. Tsui Hark enjoys the visual flourishes which are amply demonstrated, yet he steers away from the hyper stylisation of the originals và thus enabling it further lớn create its own identity. There is less in the slow motion & at times the action has a more frenetic pace. This too is reflected in the editing overall. The only bit that seems out of kilter is the montage sequence of Mark, Mun, và Kit shopping etc. This comes across as a “Butch Cassidy và The Sundance Kid” style vignette. I half expected “Raindrops keep falling on my head” lớn play. It"s a light hearted scene that felt out of place in the overall tone.
Tony Leung Ka-Fai as Mun provides good back up as the third wheel. I just wondered at the end what happened lớn his character. This is a prequel but where did he go between the climax here and the original? But that"s probably reading too much into things! Shih Kien gets a great supporting part as Mun"s father và Cheung Wai-lun is suitably naïve as Pat. Saburo Tokito"s Ho feel"s less as well crafted, but then when playing the antagonist competing for Kit"s affections, he was up against two scene stealers & anyone would struggle against that sort of competition.
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Let"s be clear. Whilst this is a prequel to lớn one of the most legendary Hong Kong films, it is not an imitation. This is Tsui Hark"s take on the story & so if you go into this expecting more of the same, then you may be disappointed. That would mean missing out on an incredibly under-rated feature. Containing an outstanding performance by Anita Mui, backed up by the always entertaining Chow Yun Fat, this is a Heroic BloodshedRomance hybrid that creates its own identity that reflects its creator.
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A Better Tomorrow III A Bullet in the Head anita mui chow yun fat John Woo Tony Leung Ka-Fai Tsui Hark