★★★★
“State of flux”
Difficult though it may be to credit, especially for younger readers, there was a time when watching MTV could actually be interesting occasionally, back in the days when the station had its own animation division. The best-known product to seep out was Beavis and Butthead, but more interesting was Aeon Flux, perhaps the most dense and impenetrable animated series to reach a wide audience – even if the general reaction was “Eh?”
It debuted as part of Liquid Television, and right from the start, makes an impression with its lack of dialogue, weird design and astonishingly high body-count. The first series of mini-eps depicted the mission of an apparent secret agent, Aeon Flux, who comes within moments of solving the case of a mysterious epidemic, only to meet an untimely death. Undaunted, the second series had a variety of cases, whose only real linking theme was the repeated untimely death of Aeon.
Then MTV commissioned some 25-minute episodes, and things inevitably started to mutate. The characters started to speak (gasp!), but anyone who thought this meant it would become easy to understand was in for a shock – if anything, it added an extra new dimension of complexity. More of the setting was exposed: two countries, Monica and Bregna, of opposite character and once united, but now in perpetual tension. Extra characters were added, most notably Trevor Goodchild, the Breen leader, whose relationship with Aeon (a Monican “agent”?) is perhaps the central focus of the series.
“What I was trying to go for was a kind of ambivalence.” So said creator Peter Chung, and as ambivalence goes, there’s little doubt he succeeded – rarely has a show hidden its light quite as effectively. Very little is laid out for easy consumption, and each episode repays, and indeed demands, repeat viewings. Every action and line of dialogue sometimes seems to have multiple meanings.
If it has a weakness, it is perhaps too obscurist, and you wonder whether the show is quite as deep as it wants you to think. In addition, there are parts which, however stylish, just don’t seem to make sense. But Aeon is a fabulous character, who in the words of Chung, “is not someone who reacts to things. She makes things happen…she’s a force for change as opposed to the status quo”, and the combination of intelligence and malevolent brute force is immensely appealing. Chung again: “I think it’s undeniable that there’s a certain glamour or a certain seductive power of violence on film. Her whole design and the way she looks, the way she moves is engineered purely to evoke that attraction.”
A feature version of Aeon Flux has occasionally been hinted at (Liz Hurley would seem a leading candidate for any live-action version!), but at the moment seems somewhat unlikely, especially with MTV having now folded their Animation Division. Chung has moved on too, first to work on Phantom 2040, whose characters are clearly cut from the same cloth, in their spidery style, and then off to the Far East, for an animated series based on the life of, I kid you not, Alexander the Great. Whether anything created in his future will be as memorable, intense and downright impenetrable as Aeon Flux is surely in doubt.
Creator: Peter Chung
Star: (voice) Denise Poirier, John Rafter Lee
It’s amusing to see that even New Concorde – who released it – don’t seem to have watched the film, their website describing it as “about the legendary lost tribe of warrior women”. Er, no: the A word doesn’t actually get used in the movie, which is really about the quest for a legendary sword, the only thing which stands between an evil sorcerer and world domination.
Add supporting roles for Michiko Nishiwaki and Yukari Oshima to Khan and Lee, and you should have a winner, all four being in perhaps the top half-dozen or so action heroines from Hong Kong. Yet while the fights here are grand, the film wastes far too much effort elsewhere. Khan is a Chinese cop who comes to Hong Kong and bumps into gangstress Lee while looking for former lover Waise Lee, who is a) also Lee’s love, and b) now involved with a painting that hides documentation on Japanese wartime human experiments, which Nishiwaki is trying to sell to Oshima. Like I said, far too much effort (if you want to know about those experiments, track down the grim but jaw-dropping Men Behind the Sun).
Things do perk up later on; after all the oestrogen, Chin Kar Lok is welcome light relief as an amusing dumb cop, and the finale is excellent, with echoes of Thelma and Louise. However, it’s too little, too late. It’s worth pointing out that while the title and artwork imply some kind of team-up, as in The Heroic Trio, the reality is unfortunately totally different, and nowhere near as interesting.
While not averse to the idea of gratuitous nudity in movies, this movie presents some of the most startlingly unattractive examples I’ve seen in some time – but then, director Decoteau is now making (more or less openly) gay-interest movies, so his judgement in such things is highly suspect. Even the heroine, Detective Samantha York, is…well, let’s be kind and say “homely”, though this could count as refreshing realism, given LAPD officers don’t win many beauty contests. I would like to think, however, that they are better shots; York couldn’t hit a barn if she was standing inside it.
Benefiting from a slew of decent performances, A&G manages to surpass most of the competition and become a worthy entry in the “gladiatrix” sub-genre. This is perhaps because the cast have been hired either because they can act or because they can fight, while simultaneously not embarrassing themselves in the other department. Pity poor Hiltz, who is in virtually every scene, yet doesn’t even get her name on the cover.
After thirty minutes, I was toying with the idea of giving this the first ever 0 star rating. On that basis, eventually creeping up to two counts as something of a miraculous recovery. The heroine is an alien, transporting her child across the English countryside, while being pursued by white-masked hunters. There is almost no dialogue, which is so obviously a penny-pinching device it hurts – the video stock and woeful “martial arts” don’t help.
Cat opted not to follow in the footsteps of her father, shampoo magnate Vidal, preferring instead to win various karate titles (allegedly) before moving into movies. Between two parts of the Blood Fist series, she popped over to the Philippines, and made this one for Roger Corman, under the gaze of familiar GWG director Santiago (TNT Jackson, etc.). She plays an LA cop, who comes to Manilla to investigate her sister’s death – she was killed after photographing a political assassination. And, hey, whaddya know? She was also taking part in a karate tournament… I trust I need not extend the plot synopsis any further.
While this is live-action, Oshii is best known for his anime work, such as Ghost in the Shell. That also had an action heroine, great visual style and lost its way in philosophical navel-gazing. There, it was the nature of self – here, it’s the nature of reality. Set in Poland, which may be a first for a Japanese film, the heroine, Ash (Foremniak), is addicted to an illegal computer game called Avalon. When she hears about the existence of a special level in it, she’ll stop at nothing to find the entrance. But, for her, the line between life and pastime is becoming more and more blurred…
Don’t look for Aruba Red in your local video store. You won’t find it, because it is a beer. Yes, an alcoholic beverage. So, what in heaven’s name is it doing on this site? Well, as far as I know, it’s the only beer inspired by a female action heroine, albeit a fictitious one.