Category: Review

Modesty Blaise, by Peter O’Donnell

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆☆☆☆½

modesty1British author Peter O’Donnell created the iconic character of Modesty Blaise in 1963 as the heroine of an action adventure comic strip. He didn’t do the art work for the strip (that was done by four successive artists altogether), but he was responsible for the storylines and printed matter during the whole 38-year run, continuing until 2001. (These original strips are currently being reprinted as a series of graphic novels.) It quickly proved popular enough that 20th-Century Fox enlisted him to write a screenplay for a spin-off movie, which he did. However, he approached the character and the project seriously; and the filmmakers decided that they wanted to produce a parody of the James Bond films instead.

So, they brought in another writer to rework his screenplay, and ended up only keeping one sentence of it. Surprisingly, though, they asked O’Donnell, not his replacement, to do the novelization. He did –but he used his screenplay as the basis. That became the book I’m reviewing here, which was published in 1965 and sparked a long-running series of novels and stories, all with original plots distinct from those of the comic strips. (Meanwhile, the movie, with its caricature of Modesty in the main role, hit the screens in 1966, but failed to spark any fan enthusiasm comparable to what the books and comics generated.)

O”Donnell’s Modesty is a fascinating, complex and layered character, with an unusual back-story that’s provided in its basics at the beginning of this book, but fleshed out more as the tale unfolds. Born about 1939 –she doesn’t know exactly when, nor what her real name and nationality is– she was orphaned as a small child in the chaos and atrocities of World War II, and wandered alone through the Balkans and Middle East, sometimes living in refugee or DP camps. Exposed to a lot of danger and brutality, she survived against all odds because she learned to defend herself and to develop a tough, pragmatic mentality. As a tween, she was mentored by another refugee, a former university professor (whom she protected, rather than the other way around) who taught her a great deal; intelligent and gifted with a good memory, she’s well-educated as a result.

Winding up in Tangier at 17, she soon succeeded to the leadership of a criminal gang, and built it into a substantial international organization, the Network, that engaged in art and jewel thefts, currency manipulations, smuggling, and intelligence brokering. She did NOT, however, engage in drug or sex trafficking (and sometimes provided the authorities with tips that enabled them to bust drug operations); her criminal activities violated the law, but never her own personal moral code and sense of honor. (It was during her Network days that she forged her abiding friendship with Willie Garvin, a skilled knife-fighter whose life had pretty much hit bottom until she saw his potential and recruited him; he would become her lieutenant and faithful sidekick.) Having amassed her goal of half a million pounds sterling by the time she was about 25, she turned the Network over to its regional bosses and she and Willie (also wealthy by that time) retired to a quiet life in England.

The book opens about a year later, when she’s bored and restive, increasingly aware that she’s psychologically geared to find fulfillment and purpose in high-risk physical action, and doesn’t feel really alive when she’s vegetating without it. At this point, she’s approached by Sir Gerald Tarrant, head of British Intelligence (who did business with her, through Willie, when she was brokering items of information that interested the British government). As partial payment to a Middle Eastern sheik for an oil concession, Britain is shipping ten million pounds worth of diamonds from South Africa to Beirut –and there are rumors that the secrecy of the shipment has been compromised, and that someone may be out to steal it. Being aware of Modesty’s unique wide knowledge of, and contacts in, the international underworld, Tarrant would like her to check this out for him. First, though, she’ll have another priority on the agenda –rescuing Willie (also bored and restive) from the South American prison where he’s awaiting execution, having been a mercenary on the losing side in a civil war.

modesty2O’Donnell is a master of characterization; not just Modesty and Willie, but all of the secondary characters here too, are wonderfully wrought, full-orbed and realistic. The plotting is taut and well-paced, with no unnecessary filler, and there’s a real sense of danger and challenge. It’s clear that the author has a very good working knowledge of traditional Arab culture, which adds texture here. Unlike Ian Fleming, he doesn’t go in for far-fetched gadgetry, but he does endow his heroine and hero with some believable gadgets and an ability to secrete them on their person. He writes action scenes that are clear, vivid and gripping; and he sets his action in the context of a moral framework –recognizable good is pitted here against genuine evil, and O’Donnell makes us root wholeheartedly for the former and despise the latter. Modesty herself is no plaster saint; I didn’t approve of everything she’s done in her life, or every aspect of her lifestyle now. But I could understand her motivations, and didn’t have any trouble liking and respecting her as a heroine –she has a lot of very real virtues, is a born leader and as valiant a fighter as ever lived, cares about others and treats them decently, and respects innocent life (and will spare adversaries’ lives at times when some people in her shoes probably wouldn’t).

At one point, O’Donnell makes use of a double coincidence in his plotting, which some critics might fault him for. (But that personally didn’t bother me much; I ascribed it to the action of providence.) And while he drops the names of various firearms models to lend verisimilitude to his narrative, he makes a couple of bloopers in his treatment of guns. Also, he describes technical processes at places in the narrative in more detail than I would (I have a low tolerance for that kind of thing), but he usually has a good reason to, and does it with reasonable clarity; some fans will actually regard this as a strength of the writing. One major character displays some sexist attitudes, but I didn’t think O’Donnell was sharing in or justifying them, just realistically depicting the way many males in 1965 thought (and still do).

There’s a high body count here, but the violence is handled quickly and cleanly; while some of the villains are sadists, O”Donnell isn’t. There’s some bad language, and a certain amount of religious profanity, but no obscenity. While there’s no explicit sex, it’s made clear that unmarried sex took place a few times, and will again; Willie and Modesty are single, but not celibate. (Their relationship with each other, though, is perfectly chaste and Platonic –they genuinely do love each other, and would die for each other, but as true friends, not as erotic partners.)

In this book, it’s noted in passing that Modesty has been raped twice in her life. As it stands, that’s just a reflection of the tragic fact that women in our world often do face a lot of sexual violence; and she isn’t defined by the experience, and doesn’t have a victim mentality that allows it to permanently scar her life, which is positive modeling. But I’m told by other readers that in the other books of the series (though not the comics) Modesty tends to be raped quite frequently. To me, that’s a disturbing amount of sexual violence for one character to have to undergo; and it does seem like a morbid overuse of the motif. But that said, I’m still invested enough in this heroine and her future adventures to continue reading the series!

Author: Peter O’Donnell
Publisher: Souvenir Press, available through Amazon, currently only as a printed book.

A version of this review previously appeared on Goodreads.

Sweet Home

  By

★★★½
“Hogar, dulce hogar…”

sweethomeA straightforward yet effective cross between a slasher film and Die Hard, sees Alicia (Garcia-Jonsson) plan a birthday dinner for her boyfriend, Simon (Sevilla) in an almost deserted apartment building. However, she stumbles into a plot to evict the last remaining tenant… in a body-bag. Trapped inside the locked tenement, the young couple become the target, first for the evictors, and then their boss, the Liquidator (Tarrida), as they seek to cover the tracks of their murderous work.

Three sentences, and that’s basically the entirety of the plot covered, since most of the film is an extended stalk ‘n’ slash, with Alicia, in particular, seeking a way out. It’s absolutely her story, because Simon is wounded relatively early in proceedings, and ends up close to a non-factor in proceedings – for one reason or another. Even though there’s a sense of Garcia-Jonsson acting mostly in her third language (she was born in Sweden, most of her career has been in Spain, yet her dialogue here is mainly English), it doesn’t harm the film, because Martinez is a firm believer in showing, rather than telling. That’s just what something like this needs, with gratifyingly few pauses for exposition after things kick-off. In particular, things are ramped up with the arrival of the Liquidator, who disposes of bodies with the aid of liquid nitrogen and a hammer. This is about as wince-inducing as it sounds.

As well as a fairly monstrous villain, who is quite prepared to dispatch his supposed allies if they prove more trouble than they are worth, the main appeal is seeing Alicia use her wits to survive, clambering in, around and through the maze of corridors and service passages in the building, as she tries to stay one step ahead of those hunting her down. The claustrophobic setting, enhanced by a thunderous deluge coming down outside, which has cleared the streets of everyone else, generally work for the movie too. Reading other reviews, seems I’m not the only person to detect notes of John Carpenter, with this in particular evoking feelings of Assault on Precinct 13 crossed with Halloween. Though it has been a very long while since Carpenter has directed anything as shallowly entertaining as Sweet Home.

On the other hand. the floor-plan of the house, an important factor in proceedings, seems more than a little inconsistent. This may be less an apartment building, and more a Klein bottle, for there were times when I was thought Alicia was on an upper level, only for her to open a door and suddenly be back at ground level. However, if you’re prepared to let that aspect slide, along with the occasional moments of less-than-sensible behaviour (almost inevitable, given the genre), this is an energetic and enthusiastic romp, which will likely have you quoting various John McClane-isms over the course of proceedings. But it’s safe to say that Die Hard did not end in a climax which had Bruce Willis in the basement, unconscious, dotted lines drawn on his limbs, in preparation for easy separation by Alan Rickman and his hacksaw. More’s the pity, perhaps.

Dir: Rafa Martínez
Star: Ingrid Garcia-Jonsson, Bruno Sevilla, Oriol Tarrida, Jose Maria Blanco

The Paleface

  By

★★★
“Starring the two and only Jane Russell.”

palefaceOr, to steal another line from Mr. Hope, “Culture is the ability to describe Jane Russell without moving your hands”. It’s surprisingly advanced for its 1948 era, with Russell playing Calamity Jane, who is busted out of prison to go undercover and infiltrate an arms ring guilty of the heinous crime of selling weapons to Indians. [Because, from a liberal 2015 perspective, god forbid anyone try to even the playing field on that particular genocide…] She’s set up with a cover husband, but when he turns up dead, she’s forced to improvise and settles on ‘Painless’ Peter Potter (Hope), an itinerant dentist, as the patsy for the role, as they join a wagon train heading West. Needless to say, he’s delighted, and the legend of his own mind only grows after he fends off an attack by Indians – unaware, all the sharpshooting was entirely Jane’s doing. For her aim is to set him up as some kind of heroic Federal agent, provoking the gang into tipping their hand with retaliation.

It’s impressively even in tone, with Jane clearly the smarter, braver and more talented one of the pairing, running rings around Peter as she manipulates him into being the unwitting stalking horse for her mission. It’s only right at the end, when they both have (somewhat inexplicably) been captured by the Indians, that he rises above his humble origins and skills, doing his part in a rousing finale involving some brisk horse stunts. Russell’s performance was the subject of some mockery, Life magazine saying at the time, in a feature called Jane Russell’s Gamut of Emotions, “she demonstrates how to express a great variety of emotions, without twitching a facial muscle.” However, I think it has perhaps stood the test of time better than Hope’s comic mugging, playing into the cold and calculating killing machine trope – she would rather whack Potter into unconsciousness than kiss him. Certainly, it has lasted better than Bob’s rendition of Buttons & Bows, which inexplicably won the Academy Award that year for best original song.

To be honest, the comedic aspects also seem rather out of keeping with the body count, though it’s hard to tell how much of this may be parody of the genre – certainly, the site of Potter standing beside a literal pile of native American corpses is more likely to provoke embarrassed silence these days, than mirthful chuckles. The film is on much less questionable grounds concentrating on the nicely reversed dynamic between the two leads; even if this collapses into the obligatory and entirely expected fluffy ending, the final sight gag did actually make me laugh out loud, and that’s not easy to do.

Dir: Norman Z. McLeod
Star: Bob Hope, Jane Russell, Robert Armstrong, Iris Adrian

Texas Lady

  By

★★★
“The Queen of Hearts”

texasladyThe start here is absolutely fascinating. Riverboat gambler Chris Mooney (Sullivan) is getting his ass kicked by an unknown amateur – and, worse yet, it’s a woman. Certain it’s just bad luck, he borrows $30,000… and loses that too. The woman, Prudence Webb (Colbert), takes the money and gives it to a bank. Her father, who had a gambling problem, had embezzled cash, lost it to Mooney, and subsequently committed suicide. To gain revenge, she had learned to play poker, studied his tactics quietly and, when she felt assured of victory, put her plan into action. Talk about best served cold. With the balance of the cash, she buys a newspaper in a small Texas town, Fort Ralston. Why? Why not. But on arriving there, she finds the local land barons, in particular Micah Ralston (Collins), after whom the town is named, less receptive to her new-fangled ways, though his hired gun Foley (Walcott) takes a rather creepy shine to Webb.

Intent on recovering his reputation as much as the cash, Mooney has followed Webb to Fort Ralston, where Foley resents the new arrival, seeing him as a rival for Prudence’s affection. Meanwhile, roused by her newspaper’s editorial stance, promoting developments such as the railroad, the town is beginning to stand up against their landlord. Ralston retaliates by fabricating a claim of unpaid back taxes on the newspaper, for which Webb is deemed liable. When that fails to get rid of her, and the residents revolt by electing their own mayor, sheriff and judge, replacing Ralston’s cronies, he blockades the town, citing his ownership of the land all around it. Will Prudence and Chris prevail, in their efforts to bring the town into the modern era [or, at least, the late 19th century?]

Colbert is an interesting choice. She won an Oscar almost two decades earlier, for It Happened One Night, and was among Hollywood’s biggest stars at the end of the thirties. The romantic aspects here are, at first sight, implausible, since she is in her fifties (easily old enough to be Walcott’s mother, for example) and not what you’d describe as classically “pretty.” But screen presence and personality make up for a lot of that gap, with the strength of Webb’s character well ahead of its time. I almost wish they had made the entire movie about the initial plot to get revenge for her father; it would have made for a unique and fascinating tale in itself. Instead, the film more or less collapses into standard Western shenanigans with Mooney’s arrival in town, the film becoming mostly about his struggle against Ralston, with Webb largely taking a back seat in her own movie. This is much less interesting, unfortunately: Sullivan isn’t as good an actor, and his character is largely a stock white-hat. Collins’ portrayal of the villain isn’t bad; you do appreciate he has something of a legitimate beef, having sacrificed his life to the town and its people, which is more motivation than you usually get.

In the end, the production lives or dies with Colbert. When focusing on her, it’s thoroughly entertaining and innovative. Unfortunately, the second half largely shifts its attention off Webb, and significantly weakens the overall quality of the movie.

Dir: Tim Whelan
Star: Claudette Colbert, Barry Sullivan, Gregory Walcott, Ray Collins

Home Invasion

  By

★★
“Not-so sweet home.”

homeinvasionNicole Johnson (Sheridan) comes home with her daughter to find a robbery in progress, but is a well-armed home-owner and ends up blowing away one of the intruders. The other, Ray (Howell), bails with their getaway driver, Jade (Duff), who was also the dead perp’s girlfriend. She vows to take vengeance on Nicole and her family, in a variety of forms, from posing as a swimming teacher, to poisoning the customers at Nicole’s restaurant, then setting the place on fire and framing her for arson. Plus, of course, she’s a believer in the old Biblical law of an eye for an eye – or, in this case, a boyfriend for a boyfriend, Jade fixing to inject her nemesis’s other half with that old “undetectable poison”, potassium chloride. I have probably just got myself on a government watch-list by Googling that. Should have done it on my boss’s computer. Oh, well….

So, before they come to take me away, this is a competent if hardly memorable TV movie, which is hampered significantly by the limitations of that medium. While the concept isn’t bad, the inability to go full-bore into it with the necessary energy and – let’s be honest – luridness, leaves the end result as bland as a bowl of rice-pudding. Duff isn’t bad, with a feral intelligence that’s somewhat endearing – frankly, I was largely rooting for her to get the revenge she craves – and Howell is good value as ever. Though Ray spends half the film hiding out in a shack after the aborted robbery, which makes for a bizarre time-frame, since it appears everything else unfolds over the period of several weeks or even months. I’m not actually sure what purpose his character particularly serves; however, watching Howell play a middle-aged gangsta in a bandana is bizarrely fascinating for some reason.

I was hoping it would all build to some kind of extended brawl through the house, with the lioness defending her cub against a predatory newcomer. It’s not much of a spoiler to say I was almost entirely disappointed, though Jade’s final moments have a poignancy that is surprisingly effective, and quite at odds with the low-key banality that preceded them. For almost everything else found here, is the very definition of workmanlike: largely non-threatening drama, technically solid enough, yet possessing all the bite of a geriatric chihuahua, and delivering about as much threat.

Dir: Doug Campbell
Star: Haylie Duff, Lisa Sheridan, Jason Brooks, C. Thomas Howell

Big Sky

  By

★½
“This sky’s gone out…”

bigskyHazel (Thorne) suffers from severe agoraphobia, which has left her trapped in her room, but her mother, Dee (Sedgwick) has finally succeeded in convincing Hazel to seek treatment. A ride is arranged to a treatment centre in the middle of the desert: to help Hazel cope, she’ll travel in the blacked-out back of the van, with her mother up front. However, on the way, the van is ambushed and another passenger kidnapped. The perpetrators, brothers Jesse and Pru (Grillo and Tveit), shoot everyone else to cover their tracks, but don’t notice Hazel in the back. Dee is badly wounded, and their only hope of survival is for Hazel to overcome her fear and head out across the wide-open landscape for help. However, the brothers have realized they left some loose ends, and Pru – who has significant mental issues of his own – is sent back to tidy up the survivors.

Cutting to the chase here, there is limited entertainment value to be found in watching someone stare and their feet and move, v-e-r-y s-l-o-w-l-y, through the desert. I get that they are struggling with their condition, but that doesn’t make it interesting to watch: I was painfully reminded of Roger Corman’s The Trip, one of the very few movies I have walked out on, which consists largely of watching someone else take drugs. I’m also a little bit unsure about what this is saying about agoraphobia. The film appears to suggest that all you need to overcome it, is sufficient incentive, and that feels a bit like somebody yelling “Cheer up!” at someone with depression. Credit for having a heroine with such an obvious disability, and Thorne does a decent job at making her a sympathetic LEAD, even if the reason for it also feels like it falls into the realm of cod psychology. Though probably not so much as Pru, whose issues, it turns out, were the result of being hit in the head with a garden tool.

The film is obviously trying to draw a line between him and Hazel, but the script seems to lurch between the two pairs of characters, as if unable to decide whose story it wants to tell. Things happen for no particular reason than because the film decides they need to, such as Dee finding a gun in the van, and the film crawls towards its obvious climax at about the same pace as Hazel crossing the desert. Quite how such an obviously half-baked script ever managed to make it to production, I’m not sure, but you’ll probably end up wanting to lock yourself up in a cupboard – or, at least, as far away from the film as possible.

Dir: Jorge Michel Grau
Star: Bella Thorne, Kyra Sedgwick, Frank Grillo, Aaron Tveit

Darkness on the Edge of Town

  By

★★★½
“Before you embark on a journey of revenge, dig two graves.”

darknessSo Confucius (allegedly) said, and it appears the same is true in the Irish countryside – though I’m still not sure if the film’s title is a Bruce Springsteen reference. In this particular town, the sister of Cleo O’Callahan (Regan), turns up dead on the floor of a bar bathroom, her throat cut. Worse yet, Cleo and her BFF Robin (Willis) come across the bloody scene, after being alerted by the police activity. Who was responsible? Francis Macheath (Monaghan), the traveler to whom the sister owed money? Robin’s stalkery brother, Virgin (Gleeson), who had a bit of an unhealthy obsession with the dead girl? Or is the truth even more unpleasantly close to home? It matters, because Cleo has no confidence at all in the local cops’ ability to solve the class, and since she’s an Olympic-level shot, has the capacity to back up her bold statements of revenge. The question is, at what cost?

If Italian genre entries are known as “spaghetti Westerns”, does that make this a “potato Western”? Because there’s a lot here that seems to be borrowed by Ryan from the genre; while the landscapes may be a lot lusher than the Wild West, there’s no less lethal threats to be found, and Cleo’s taciturn shooter, out for vengeance, is only about a cheroot and some stubble from being Clint Eastwood. The film is actually not very concerned with revealing the killer – that particular aspect is answered very near the beginning, though I’m unsure if this could be a misstep, since it drains much potential suspense away. However, I get the feeling Ryan is much less concerned with “whodunnit” than why, as well as the question of how many more will end up falling victim to the resulting blood feud, and the toll it will eventually take on Cleo. Even though, there’s certainly a case to be made that Robin actually the more dangerous of the pair, thanks to her talent for manipulation.

There were elements that reminded me of Peter Jackson’s Heavenly Creatures, which drew a picture of a similar teenage relationship, whose very intensity helped lead to tragedy. The two Emmas, of necessity, are leaned upon to carry a great deal of the picture’s weight, and they are both very good in their roles, especially when, as during the 10 minutes which form the nearly-wordless opening sequence, they are forced to act. Ryan is perhaps too fond of these artistic flourishes, which tend to distract as much as they enhance, and you also need to exhibit some patience with the film, working with its rural rhythms, which are some way from the genre standards. However, the reward is certainly worth the effort, with the settings and characters providing a fresh new twist on a familiar formula.

Dir: Patrick Ryan
Star: Emma Eliza Regan, Emma Willis, Brian Gleeson, Sam Monaghan

The Great Texas Dynamite Chase

  By

★★★
“A movie packed with blow(-up) jobs.”

dynamitegirlsSorry. Couldn’t resist the above tasteless joke. I did try. It was the longest five seconds of my life. But, let’s face it, the late Ms. Jennings would probably have approved, as she shot across the B-movie firmament like a meteor, in other films reviewed here, such as ‘Gator Bait and Unholy Rollers, before her untimely death at the age of 29.

This is an energetic and briskly-paced B-movie, with no pretensions, perhaps inspired somewhat by the Italian film Blonde in Black Leather, made two years earlier, which also had a downtrodden woman breaking free of the shackles of society for wild adventures alongside a rebellious friend. Here, the former is bank-teller Ellie-Jo Turner (Jones), who has just been fired when her branch is robbed by the dynamite-toting Candy Morgan (Jennings). in need of funds to save her family’s farm. The two meet each other again on the road, and Ellie-Jo convinces Candy that a life of crime would be fun, and so the pair – after scoring some non-fizzling explosives – begin a cross-Texas bank robbery spree. During an unscheduled diversion to a convenience store, they pick up a hostage, Slim (Crawford), who turns out to be rather happy in his plight. However, for how long can they stay ahead of the law?

I didn’t even realize this was an action heroine film, until a friend reviewed it on his site, so a hat-tip to Hal for that. The alternate title – particularly if accompanied by the over-enthusiastic French poster accompanying this piece! – makes this more clear.  I enjoyed the Thelma and Louise vibe here, with the two heroines playing off each other nicely, and while it is obviously exploitational, right from the moment Jennings gratuitously changes her top inside the first five minutes, these aspects are relatively restrained. To be honest, I could very easily have done without Slim entirely, as his character appears to add nothing of significance to the film, and Crawford’s performance is so blandly uninteresting, he sucks the life off the screen whenever he appears – quite a contract to Jennings.

There is also a sharp shift in tone for the final reel, where Pressman [whose subsequent directorial career include a pair of really bad sequels in The Bad News Bears: Breaking Training and Teenage Mutant Ninja Turtles II: Secret of the Ooze] apparently getting in touch with his inner Sam Peckinpah, and delivering a slow-mo blood-squibtravaganza that is not at all in keeping with what has gone before. However, I’m prepared to forgive it for one big reason, though unfortunately it’s too spoilery for me to provide more details. For the same reason, I have to remain vague in my approval of the ending, which went in a different direction from the one I was expecting, and was all the better for it. This is more evidence that Jennings’ early departure was certainly our genre’s loss.

Dir: Michael Pressman
Star: Claudia Jennings, Jocelyn Jones, Johnny Crawford
a.k.a. Dynamite Women

Fox Hunter

  By

★★★½
“For Fox’s sake…”

foxhunterGrittily disturbing, only some misplaced and failed stabs at comedy prevent this from likely being Leung’s best work ever. She plays rookie Hong Kong cop Jenny, following in the footsteps of her late father, who takes on an undercover mission aimed at trapping gangster Tung (Fung). While it succeeds, Tung escapes, and takes vengeance on Jenny, killing her uncle in brutal fashion. This, in turn, pushes her over the edge, and she teams up with his pimp-turned-informant (Chan), who is feeling aggrieved after having not received his promised reward from the authorities. The pair head to China, where Tung is hiding out, only for Jenny to rapidly wear out her welcome with the local cops and their commander (Guang). Worse is to follow, when Tung finds out they are on his tail, he begins a campaign of terrorism, culminating in wiring an entire shopping mall with explosives. He’s very fond of explosives…

The cover (right) is surely among the least accurate I’ve seen, depicting a frothy concoction mercifully not present – and the movie contains absolutely no pineapples at all, in case you were wondering. In particular, they really shouldn’t have tried to make Chan’s character any kind of comedic foil, because it just doesn’t work. During the early going, I was praying for his rapid, painful demise, though he does become more sympathetic in the second half. Fortunately, the other aspects outweigh the ill-considered negatives. Though this is one of only four films directed by Tung Wai (including an all time HK favorite, Magic Cop), he has a long pedigree as an action director – among his works previously covered here are Mulan, Reign of Assassins and The Assassin – and that’s when this movie shines. Particular standouts are a sequence in which Tung shows up at the apartment complex where our pair are hiding out, and the final battle up and down the insides of the mall.

It’s clear throughout that Leung is doing most, if not all, her own stunts; the sequence where she uses a sofa to escape a grenade blast is so realistic, you can virtually smell her singed eyebrows. It also helps that she isn’t portrayed as all at some kind of superwoman. Indeed, Tung is depicted as stronger, and far more brutal than the heroine, resulting in a genuine sense of peril for her – Jenny has to dig deep into her reservoir of tenacity simply in order to survive his onslaught, never mind prevailing over her nemesis. As well as the cover, the English-language title doesn’t do this justice, conjuring up a rather different set of images. While I get the sense of her going after a predator, something like Wolf Hunter might have been more appropriate, in terms of getting the hard-edged tone for which this aims.

Dir: Stephen Tung Wai
Star: Jade Leung, Jordan Chan, Ching Fung, Yu Rong Guang

Jessica Jones: Season one

  By

★★★½
“The Jones’ town massacre.”

jjones1A low-key take on the whole Marvel Universe, this takes place alongside the likes of The Avengers, yet almost separate from them. This means there are a couple of references to more high-profile superheroes (the battle for New York depicted in Avengers is called ‘The Incident’), plus nods to, and characters from, Netflix’s other Marvel show, Daredevil. Otherwise, this is its own creature, and likely the better for it. The heroine is Jessica Jones (Ritter, possessing an Eliza Dushku vibe), a private eye who has been gifted – or cursed – with remarkable strength. While this does occasionally come in handy, as we see in the first episode when serving a subpoena to an unwilling recipient, she’s well aware of the downside that her talent might bring; in the comics, but barely discussed in the show, she had a brief stint as a superhero, which ended badly. Now, she largely keeps it to herself, rather than running around the city fighting crime ‘n’ stuff.

jjones2Our story starts with her taking on what looks like a mundane missing person job, the parents of the girl in question having been recommended to her PI services. The disappearance turns out to have been engineered by “Kilgrave” (Tennant), the pseudonym adopted by a man with the talent of mind-control. Jessica crossed paths with Kilgrave before, having been one of those under his mental thumb. The experience left Jones with post-traumatic stress, but she believed she had seen the last of him – only to discover that not only is he still alive, he is perhaps even more obsessed with Jessica than he was. Fortunately, she isn’t alone, with help from her foster sister, Trish Walker (Taylor), now a popular radio host, and Luke Cage (Colter), a barman who, like Jones, has an abnormal ability he prefers remain private. However, how can you defeat someone who can take anyone, even your closest friends, and turn them against you as spies or assassins?

If you are used to Marvel movies, this is very much understated in comparison to something like The Avengers or Guardians of the Galaxy, big, bombastic epics with a lot of things blowing up. It’s often easy to forget they share the same universe – but then, remember that “comics” aren’t a genre, they’re a medium. While the term “comic-book movie” has come to mean a certain type of film, the truth is the range actually includes titles as diverse as The History of Violence, The Road to Perdition and When the Wind Blows. It’s possible to imagine a version of Jessica Jones, with its heroine entirely free of all special abilities – you’d more or less have a modern noir, right down to the jazzy intro music and voice-over narration. Kilgrave would be harder, admittedly, since his powers are largely what he has allowed to define him, but perhaps he could become a creepy, stalkery ex-boyfriend.

Jones is certainly flawed, though how many of these flaws are the result of her first encounter with Kilgrave is uncertain, given the limited glimpses we get of her life before that. She now drinks heavily, can’t maintain a relationship with anyone, and is crabby and sarcastic. All told, not a very likeable individual, and this is reflected in the near-lone existence she has. As the audience spends time with her though, they grow to appreciate her better qualities, such as a ferocious loyalty which, once earned, is never lost. She’s relentless too: once she sinks her teeth into a case, you probably would have to cut off Jones’s head to get her to back off, though the pursuit of Kilgrave certainly has a significant personal element to it too. As well as strength, it appears Jessica has the ability to take damage and keep going; not just physical either, but also psychological and spiritual, because she goes through the ringer over the course of these 13 episodes.

However, she may still be overshadowed by Kilgrave, even during the early episodes where he is rarely seen. Unlike most traditional “comic-book” villains, Kilgrave has a philosophy that informs his actions, and even possesses a twisted morality of sorts. He wants, and indeed, is desperate for, Jessica to like him, without being compelled to do so through mind-control. Tennant is quite brilliant in the role: you’ll be astonished if you’ve only seen him in Doctor Who, less so if you’re aware of his excellent work elsewhere, such as in Broadchurch, or even as Hamlet. Kilgrave is a total dick, likely a clinical psychopath, with a short fuse. This may be close to the worst combination possible for someone given the ability to manipulate others like a puppet. However, Tennant manages to retain a good degree of humanity in his depiction of the character. Like many psychopaths, Kilgrave can be charming on occasion, and the differences between him and Jessica are not as obvious as you might think: they are both children of trauma.

jjones3Less effective, for me, were the supporting cast, and this aspect left the show short of “Seal of Approval” status [though I know many disagree]. The apparently obligatory, dysfunctional romance between Jones and Cage feels both too sudden and forced: I guess he needed to be established for his own, upcoming TV series, though I’ll probably not bother with it, any more than I did with Daredevil. Meanwhile, Carrie Ann Moss’s aggressive lawyer, oddly gender-swapped from the comic, never served any significant purpose over the course of this first season. More effective is the complex relationship between Jessica and Trish; one born of personal tragedies, on both sides, which still continue to resonate, years later. Still, I couldn’t help feeling that a 13-episode series was over-stretching the material; a few of the shows appeared a good deal more filler than killer, and I suspect a 10-episode order might have been better overall.

The other main weakness, to me, was some contrived plotting, such as the way in which an inexplicable immunity to Kilgrave’s powers becomes an essential part of the final arc. I can’t say if the comics dealt with it similarly, but for a series so grounded in gritty realism, suddenly to pull out something which felt more like a big lump of handwavey Kryptonite, was disappointing. Similarly, the final confrontation between Kilgrave and Jones also had the former behave in a rather dumb way, closer to that of a sixties Bond villain, than the smart and savvy psycho he’d been portrayed as over the previous 12 episodes. I guess you can take the television show out of the comic-book, but you can’t entirely take the comic-book out of the television show. Or something…

Those flaws noted, this is still likely the best action-heroine entry to come out of either Marvel or DC so far. The show has been renewed for a second season, although the time-frame for this is uncertain, and it may end up being queued behind other planned Marvel/Netflix series – not least The Defenders, their “low-rent” version of The Avengers which will team up Daredevil with Jones, Cage and Iron Fist. Additionally, the makers will need to figure out who or what will replace Kilgrave as the show’s “big bad”, a tough act to follow. If the future of Jessica’s day job seems highly uncertain at the end of this run, there are also hints that she is no longer going to  be quite the lone wolf operator that she was here, possibly building eventually toward that Defenders team-up. If not as jaw-droppingly good as some claim (“The best show on TV”?), its hard-boiled approach has to be commended, and is refreshingly unlike anything else available, from any source.

Creator: Melissa Rosenberg
Star: Krysten Ritter, Mike Colter, David Tennant, Rachael Taylor