Tag: history

Joan Of Arc (1948)

  By

★★
“Joan of Talk”

joanofarcingridThis film’s origins as a stage play are painfully apparent, and you can also see why the distributor’s felt it needed to have 45 minutes cut out before it could be released, as frankly, it’s a bit of a bore. The battle to recapture Orleans is the only action of note here, even though that represented the start of the Maid’s campaign to restore France to its proper ruler (Ferrer), rather than the end. After that, this more or less skips forward to his coronation, then Joan’s capture, spending the rest of the movie – and there’s a lot of it – going through the trial, and the railroading of the heroine into, first throwing herself on the church’s mercy, then recanting her recantation and returning to wearing men’s clothes, thereby sealing her fate. There’s not much here which you won’t have seen before, if you’ve seen any of the other versions of the story, touching the usual bases from Joan’s revelations that she’s going to be the saviour of France, through her trip to see the Dauphin, and so on. It does downplay the “voices” aspect, especially early on, perhaps a wise move since it’s difficult to depict, without making her seem like a religious fruitcake.

The other problem I find is Bergman. It’s not so much her performance here, which is actually very good, and help hold the film up when things get particularly static: she hits her emotional marks well, and the Oscar nomination she received was not undeserved. However, she was solidly into her thirties by this point, probably close to twice the age of the actual Miss of Arc [hat-tip to Bill and Ted!]; there’s only so far make-up can go in taking years off someone. It does seem to have been a character to whom she related: she’s play the role again later, for Roberto Rossellini in Joan at the Stake, when she was nearly forty. The other problem is Bergman’s Scandinavian origins, which poke through her dialogue persistently, also damaging the illusion; it might have been fine in forties Hollywood, where one European accent was considered much the same as another, but now, it sounds too much Joan was a Swedish exchange student or au-pair – especially when she’s wearing her headsquare, and looks ready for a spot of light dusting.

But there’s no denying it looks the part, with production value seeping out of every frame – the Oscars this actually won, for cinematography and costume design, are hard to argue. However, there’s only so far this can take a film, along with Bergman glowing her way through her scenes, in such a way you could probably read a newspaper by her incandescence. That distance is considerably less than 145 minutes, and by the time this is over, you might find yourself guiltily cheering for her arrival at the stake, knowing this means the end is nigh.

Dir: Victor Fleming
Star: Ingrid Bergman, Francis L. Sullivan, José Ferrer, J. Carrol Naish

Fire Dragon

  By

★★★
“Giant Fireballs, Volume 2.”

firedragonPrince Six (Tan) is plotting rebellion against the legitimate government, but Ming (Chu) has obtained a piece of compromising evidence from a dying Imperial guard. Before he can deliver it, the seal proving his identity is lifted by Tang Lyn-Yu (Ng), who runs a circus troupe, but has set her amorous eyes on Mind. He returns to the troupe, to try and locate the seal, but also there, undercover, is Fire Devil (Lin), who has been tasked by Six with locating and destroying the evidence of his treachery. However, after her involvement in a battle which leaves a young child orphaned, along with her beginning to fall for Ming, she begins to question whether she is on the right side of the fight. It doesn’t count as much of a spoiler to say that it ends with Fire Devil taking on Six, in a finale which involves so many things blowing up, you’d be forgiven for thinking the title of the film was as given at the top.

As usual, the fight scenes show why Yuen Woo-Ping is the greatest action director in modern cinema. Unfortunately, the bits between the fight scenes, also show why he is not the greatest director in modern cinema; it’s as if all the invention and imagination went into the wire-fu. Yuen appears content for the rest to be told with a series of bland characters (Chu is entirely forgettable, and shows the range of a wardrobe), desperately unfunny stabs at comedic mugging (courtesy of the Empress of Comedic Mugging, Ng, who has basically made her entire career out of that sort of thing), and broad cliché (Taotao the orphan, who could only be more obviously designed to be Adorable with a capital A, if he was carrying a box of sneezing baby pandas). The results are never less than unsubtle, and rarely pass as adequate.

It’s up to Lin to carry the emotional heart of the film, and she does well enough. At one point, Six tells her he doesn’t want her to be a dog, obeying him without question, he wants a hawk, soaring free. I guess he gets his wish: however, considering how that turns out (reminder: a large number of giant fireballs), it probably wasn’t the wisest of similes for him to choose. More exploration of their relationship, e.g. how did she come to work for him, would have been preferred over the less successful element that may well have you reaching for the fast-forward button.

Dir: Yuen Woo-ping
Star: Joe Chu, Brigitte Lin, Sandra Ng, Tan Lap-Man

The Pagan Queen

  By

paganqueen★½
“Czech mates”

This is the story of three sisters – Kazi the healer, Teta the priestess (Filatova) and Libuše (Zoli), who can see both the past and her future. Their father is chieftain of the local tribes, and when he passes away, Libuše is chosen to replace him, due to her supernatural talents. This does not impress some of her male rivals, who seek first to wed her, then when she spurns their advances, to replace her. Libuše’s dream of founding the city of Prague hits problems, and she is forced into marriage, but does at least trick her way into choosing her own husband, the farmer Přemysl (Lucas). However, she soon discovers that he isn’t quite the man he seemed, and he rules the country with an “iron fist,” causing Libuše’s childhood friend, the warrior maiden Vlasta (Mornar) to raise an army of women and rebel against the patriarchy.

paganqueen2It really is nowhere near as good as this sounds, and the synopsis above is significantly more coherent. I swear, I didn’t fall asleep – but it felt like I did, the story lurching from scene to scene in a disjointed manner that rapidly drained all interest. Outside of the heroine, there was hardly any significant effort at giving the characters motivation or depth, and matters weren’t helped by the fact the entire nation seemed to consist of about 25 people. The scenery is nice, and the soundtrack has a full, orchestral feel which seems to have escaped from a higher-budget movie, but it doesn’t work as a historical piece or as a political one – and, certainly, not as an action film. However, I was amused by what I suspect is likely a realistic, if ruthless, depiction of what would probably happen when a warrior maiden comes up against her male counterpart.

I suppose it’s possible this may be more entertaining, or simply coherent, if you’re aware of the legend on which it’s based. However, this would still be a flaw: you don’t need to have read Le Morte D’Arthur to appreciate Excalibur. And, beside, this seems to have been critically skewered in the Czech Republic, so it doesn’t appear background knowledge is that much of a help. I think it’s probably more the case that poorly considered femo-paganism [or paga-feminism, if you prefer] does not make for great cinema, regardless of the language.

Dir: Constantin Werner
Star: Winter Ave Zoli. Csaba Lucas, Lea Mornar, Vera Filatova

Dance of Death

  By

★★★
“Putting the ‘arts’ in martial arts.”

danceofdeathIn the seventies, Angela Mao was the queen of Hong Kong cinema, occupying much the same position as Pam Grier in the blaxploitation films of the decade. Probably best known in the West for her role as Bruce Lee’s sister in Enter the Dragon (for which she was paid the princely sum of $100!), she had much meatier roles in a slew of films. This is my first exposure to her work, albeit in a print which has seen better… well, never mind days, I’m thinking better decades. It was dubbed and had subtitles, though the English track often matched the English subs more in spirit than anything else. And it wasn’t even ranked in her top 25 by IMDB rating. But, whaddya know, it actually wasn’t too bad.

She plays Fei Fei, a nomadic orphan who comes across two fighting masters, that have been battling for years, without being able to decide who is better. She offers them a solution: they can both train her, and she’ll then go off and fight people – whoever’s training is most useful, is clearly superior. [This kind of thing only makes sense in a kung-fu movie. Fortunately, that’s exactly what this is.] In her first encounter, she sees off members of the Bird Gang, rescuing a member of the Five Styles School, which leads her to join the latter group. However, the rest of the Bird Gang continue their mission to wipe out their rivals, with Fei Fei the sole survivor. She returns to her original teachers to learn more and, after picking up a sixth style from a surprising location, is ready to take on Bird Gang leader, Mu Fa Shan, and his “Upside-down Horse” style.

Early on, I was ready to write this off, because Fei Fei’s fighting skills are second-rate at best. However, as things progressed, I realized that was actually the point: she progresses over the course of the film from being an enthusiastic amateur, through study and training, to someone who can credibly take on a top fighter. Her character may not have much of a story arc: instead, it’s her kung-fu that does. By the time of the final battle – which lasts about 15 minutes – she’s graceful and fluid, filmed by Lu in lengthy shots which do Mao justice. Now, it’s still a style of cinema very different to modern action films; but if you can accept the difference (which I’ll admit, takes getting used too, because it’s relatively slow and far more obviously choreographed), you’ll be fine. I kept being reminded of Fred Astaire and Ginger Rogers – and that might give you a clue as to the source of the sixth style… Oh, never mind: the title gives it away. It probably helps that stunt co-ordinator on this was Chen Yuan-lung – whom you might know a bit better as Jackie Chan.

It does suffer too much from the perpetual bane of the genre – too many comedic elements, and a resulting horrid unevenness of tone: the revenge motif which is crucial to the plot never comes over as having any emotional punch, not least because the members of the Five Styles clan bite the bullet before Fei Fei has apparently done more than be introduced to them. But Mao has enough charisma and presence to stop you, just this side of throwing things through your TV. If this is one of her minor works, I’m looking forward to the better ones.

Dir: Chuan Lu
Star: Angela Mao, Shih Tien, Shiao Bou-Lo, Chin Pey

Wing Chun

  By

★★★½
“Half kick-ass fights, half zany bedroom farce”

wingchunWing Chun is the name both of the school of martial arts, and the woman whom legend has it was responsible for its creation – which, in itself, is pretty cool. Tradition says Yim Wing Chun was an 18th-century figure, to whom a warlord proposed (rather forcefully, one imagines) marriage: she developed the style and used it to beat him, thereby escaping wedlock. This movie is a very loose depiction of her life: Yim and her wily but unloved sister, Abacus Fong (Yuen) run a tofu shop in a town plagued by raids from local bandits. Yim rescues a beautiful woman, Charmy (Catherine Hung) from them, and Charmy’s allure brings crowds of customers – well, at least male ones – to the store. Yim’s former sweetheart, Leung Pok To (Yen) shows up, determined to woo her again, but mistakes Charmy for Yim. Meanwhile, bandit leader Flying Chimpanzee (Chu) has had enough of Yim humiliating his men, and kidnaps Charmy to lure the martial arts mistress into their fortress.

You’ve got Yeoh, the greatest kung-fu actress of all time, in my opinion. You’ve got Yen, who’s the greatest kung-fu actor of the modern era, in my opinion (Bruce Lee, and Jackie Chan in his prime, might be slightly better). You’ve got veteran Cheng Pei Pei, who’d find fame five years later in Crouching Tiger, as Yim’s teacher. And you’ve got Yuen, the greatest kung-fu director – I’m not even going with “in my opinion” on that one. So, why isn’t this a solid gold, five-star classic? Simply because, while the fights are awesome, the stuff between the fights is nearer to awful, focusing far too heavily on slapstick of the British, “Whoops! Where are my trousers?” comedy school. Not, I should stress that I’m averse to that per se: it just isn’t what I want in my action movies. Here, people leap in and out of bedroom windows, fall over themselves at Fong’s “stinky tofu” breath, and repeatedly, somehow manage to mistake Yeoh for a man. None of this is the slightest bit interesting, and it’s even less amusing.

Indeed, it’s a tribute to how good the battles are, that I was prepared to endure comedic stylings apparently crafted by an unsophisticated eight-year-old, to get to the next confrontation. Take your pick of which is best. The one on the docks? The battle over a tray of tofu? The encounter in an inferno? We haven’t even mentioned Yim vs. Flying Chimpanzee, which is the duel so good, they had to do it twice [and I was impressed Yeoh retained her position at the heart of the movie, not stepping aside to make way for Yen]. Without exception, these are all imaginative, inventive, varied, fluidly shot and edited: practically a master-class on how fight sequences should be filmed. The trailer below – which wisely removes just about everything else apart from the martial arts – will give you some idea. It’s just a shame their grace and beauty isn’t in the service of anything more memorable than dumb humour.

Dir: Yuen Wo Ping
Star: Michelle Yeoh, Donnie Yen, Kingdom Yuen, Norman Chu

War Goddess

  By

★★★
“Should have paid more attention in history class.”

War_goddessThe Amazons are a tribe of women, who have seceded from the rest of the world, and set up a state purely composed of their own sex. For reproductive purposes, there’s an annual get-together with men – preceded by exercises to prevent any feelings except for abhorrence – and every four years, contests (javelin throwing, running, archery, etc.) to choose the queen. Which is where we come in, with blonde Antiope (Johnston) defeating brunette Oreitheia (Sun). The new ruler believes the tribe have gone soft, and also wants a return to a more egalitarian society; this doesn’t sit well with Oreitheia, or a lot of the other high Amazons, and a coup d’etat is soon being planned. Meanwhile, the annual Bonkapalooza poses problems of its own, as Antiope finds herself with feelings for Greek king Theseus (Infanti), who in turn feels guilty about having inadvertently sent the tribe into a Scythian ambush.

I don’t think I’ve often been so confused by a film’s approach, but this is so uneven in tone, I had to watch twice to get any kind of handle on it. For example, it starts with a jokey set of captions about how this maybe didn’t really happen, then swings in to the competition to be queen, peaking in seriousness with Antiope’s “pipe bomb” speech post-inauguration, which is radical to the point of almost revolutionary. But before you know it, you’re back to sub-Benny Hill antics involving bawdy comedy, or interpretive dance. This roller-coaster ride has Antiope apparently going from conception to birth in what feels like three days, without ever passing through pregnancy. It ends in a massive disappointment, which sees Antiope transformed from a warrior queen into little more than a simpering underling to Theseus, concerned that she might have to ask him for money to buy new sandals. Guess the sex war is over, guys – and we won. Woo-hoo!

Not to say there isn’t plenty here to enjoy, because it’s clear a lot of work went into this, and there’s no shortage of spectacle. Okay, some of it was work you might not have minded. According to Raw Panic, “Director Terence Young and colleagues reviewed 14,000 photographs and conducted “Miss Amazon” contests in Trieste, Paris, Hamburg, Munich, Rome and Nice to come up with the 100 women who are the Amazons.” Hey, it’s a dirty job, but someone’s got to do it… Those selected, “then endured a six-week training regimen that included riding, calisthenics and running from early in the morning until lights out. They did mostly their own stunts too; several girls had broken legs and one lost a finger under a chariot wheel.” If the results are somewhat uneven – some still look unsure about which end of a sword is which – most of the featured actresses are competent enough. Young is probably best known for his role in kick-starting the 007 franchise, directing both Dr. No and From Russia With Love – I was certainly reminded of the classic “gypsy camp catfight” sequence from the latter by a couple of moments here.

Yeah, if there are two scenes you’ll remember, it’s the brawls between Antiope and Oreitheia. The first is to decide who wears the crown, and involves the pre-fight application of “holy oil,” one suspects more for aesthetic than ecclesiastical considerations. The second is when Oreitheia’s midnight assassination attempt is uncovered, and appears to exist in two versions: one bikini-clad, the other entirely nude, depending on the market. You can catch a glimpse of the former in the trailer below; the less-encumbered, NSFW version can be seen in the Italian promo. Go ahead. We’ll wait for you here. :)  There. Wasn’t that fun? Credit is due to both Johnston and Sun, who take on material that often strays to questionable or even laughable, with a straight-faced intensity which is rather more than it deserves. It’s a shame that some of the others involved, on the other side of the camera, weren’t apparently willing to take this as seriously.

Dir: Terence Young
Star: Alena Johnston, Angelo Infanti, Sabine Sun, Rosanna Yanni
a.k.a. Le guerriere dal seno nudo
a.k.a. The Amazons

Female Ninjas: Magic Chronicles, Part 1

  By

★★
“At least it’s imaginative. Unfortunately, that’s all it is.”

femaleninja1Samurai lord Toyotomi Hideyori is about to lose his lands, to an assault from his wife’s grandfather, Tokugawa, but he’s not going down without a fight. Or, at least, to continue the battle, he has sex with her multiple female ninja handmaidens, in the hope of having a son who can continue the battle – that’s some long-term thinking, right there. Lady Sen (Shiroshima) is down with her husband’s plan; Tokugawa, not so much. When he finds out about the resulting pregnancies, he dispatches a series of ninjas of his own – men who have, shall we say, a very particular set of skills; skills they have acquired over a very long career – to ensure there’s no live births. Fortunately, the lady ninjas have some unusual abilities of their own, with which they can counterattack: as one of them says, “As ninjas, we’ve been trained to master sexual challenges.” Let battle begin!

This is such an… educational movie. I mean, if your sperm lands on a woman’s skin, she won’t rest until she has had sex with you. Who knew? Maybe it needs to be ninja sperm or something: the film is kinda unclear on the specifics. Meanwhile, on the distaff side, there’s the transference of a fetus from woman to woman as necessary, and most impressively of all, the ability to blow bubbles from your vagina, which send men they contact back to the womb. It’s insane moments like these which keep this marginally watchable, simply on the level of “What the hell will they come up with next?”, and it’s clear this is where the majority of the makers’ imagination and effort went. The rest of the time is filled with soft-core gropings and largely unconvincing fight sequences, when the sexual trickery proves inadequate. Though I did quite like the bit where one ninja’s shadow detaches itself and goes into battle independently.

The actors and actresses involved make absolutely no impression at all, though deserve applause, simply for keeping a straight face while dealing with “female ninja lock magic”, which is exactly what it sounds like, and delivering lines like “Now, I’ll squirt my own seed into your vile body,” without bursting out laughing. I’d be lying if I said this was in the slightest bit “good”, by any conventional measure. But even I have to admit it’s once seen, never forgotten, and so deserves credit above and beyond that given to many, far more forgettable flicks.

Dir: Masaru Tsushima
Star: Yasuyo Shiroshima, Ginji Gao, Reiko Hayama, Hitomi Okazaki

A Girl Fighter

  By

★★★
“…and lots of boy fighters.”

girlfighterSuma Moyung (Kwan) rides into town, offering to rid the locals of a pesky warlord’s son, who is making a nuisance of himself, not least by being a bit rapey. After proving herself by slicing off the shoe-tips of the local police force (!), Suma is given the job, and proceeds to deliver, capturing the scion and bringing him back to face justice. Except, that’s only the start of the problem, because his father is none too happy with Suma, and unleashes his forces to rescue his son, by any means necessary. That covers bribery, threats and then full-on violence as it becomes clear Suma will not be easily cowed. Fortunately, she has help, in the shape of a man (Tien) who lost his entire family to the man she is now guarding. And she’ll need all the assistance she can get, if she’s successfully to transport her captive through the countryside to the state capitol, under siege from the warlord’s forces just about every step of the way.

As that summary perhaps implies, there’s certainly no shortage of action here, with a new fight sequence popping up almost every five minutes. The main problem is that titling your film A Girl Fighter does create certain expectations in your audience – among which would be, that your heroine will be depicted as the most prolific and/or the best martial artist in the movie. Neither are true, with Tien doing most of the heavy lifting for the good guys, against an apparently endless stream of minions in small groups (if the warlord ever actually committed to rescuing his son, he’d easily have the numbers to overpower the hero and heroine!). While not exactly missing in action, too often Suma is reduced to a supporting role, or worse still, left in a situation where she needs the help of her colleague. That’s a shame: while Kwan’s style is a little too theatrical for my tastes (all her punches and kicks appear to start from the next time-zone over), it’s also graceful and flowing, especially impressive when the moves are combined into an extended sequence.

However, the overall sense is of a film more interested in the volume of action, than doing anything particularly new or interesting with it. It seems particularly old-fashioned, considering that this came out the same year (1972) as Bruce Lee’s Fist of Fury. As a taste from the tail end of what that hard-hitting style was about to replace, this isn’t bad, and it certainly doesn’t dawdle. But it feels about a decade older than it actually is.

Dir: Yeung Sai Hing
Star: Polly Shang-Kwan, Tien Peng, Law Bun, Cho Kin

The Black Butterfly

  By

★★½
“Given she wears purple, wouldn’t a better title be The Mauve Moth?”

short0448Someone is robbing the rich, and using the proceeds to buy rice for the poor. Could it be the drunken beggar (Yeung) in charge of rice distribution, who is cagey about where his new-found wealth comes from? Or the local inn-owner and former martial arts master (Tien), whose efforts at fund-raising have been rudely rebuffed? Closer. It’s actually his daughter (Chiao), whom no-one knows has any skills at all, but has apparently learned them in secret, and goes out at night, stealing valuables in order to fund the charity operations of her beggar pal. Needless to say, their previous owners are less than happy with this, and are seeking the culprit, led by policeman Xi Lang (Yueh). Things are muddied further when a group of bandits, the engagingly-named Five Devil Rock gang (I think I just found my band name!), steal an imperial seal, forcing the Butterfly’s father out of retirement, and her to reveal herself to save him.

There’s really two halves to this film. The first is, for me, more interesting, though it’s rarely less than obvious Chiao is doubled for any acrobatic work: shot of her jumping, cut to stuntman flying through air, cut to Chiao bending her legs slightly on landing. The style is also defiantly old-school and Peking Opera based, which will come across as stagily artificial to modern eyes, and you do have to remember this was made 45 years ago. However, I did appreciate the long-duration takes, and even though the action quotient was lower, the characters, performances and plot were enough to keep me interested: it plays a little like Iron Monkey, one of my all-time favourite martial arts films, and the idea of a female Robin Hood certainly has enough potential.

Unfortunately, the second half, when the bandits show up and dominate things, is rather less succesful, falling back on a number of old clichés of kung-fu cinema, such as the battle between schools. Until the finale, the heroine is largely reduced to a supporting role, ministering to her poor father, for whom the stress has become too much. While she is more active in said climax, it had me rolling my eyes at its extreme example of the trope where the villains have the good guys outnumbered – literally here, a hundred to one – but attack in ones and twos rather than rushing en masse. Here, it’s even more ridiculous, because the good guy minions beg their leaders to go in first (inevitably, getting their asses kicked), so neither side appear interested in using all their forces. While spectacular enough, I suppose, the end result just doesn’t live up to the early potential.

Dir: Lo Wei
Star: Lisa Chiao Chiao, Yueh Hua, Tien Feng, Yeung Chi Hing

Warrior Queen (1978)

  By

★½
“As dead as the ancient Britons.”

In the late seventies, British television was notable for series which generally kicked ass on the performance front, but suffered from woefully inadequate production values. The most well-known example is Doctor Who, but that was just the tip of a dramatic iceberg which included the likes of Blake’s 7 and this series: in some cases, you can look past or ignore the deficiencies, because the acting is good enough to counteract them. That, sadly, isn’t the case here, with Phillips (a compatriot of Diana Rigg and Glenda Jackson at RADA) sadly adrift as Boudicca, the queen of the Iceni who takes on the occupying Roman forces after her daughters are assaulted. Having enjoyed the 2003 version, with Alex Kingston in the title role, I thought I’d give this one a chance, but when a supposed army of 6,000 is represented by four chariots and, maybe, ten guys in animal skins, it’s hard not to notice.

Phillips is fine as the queen, possessing a certain royal gravitas that’s fitting. But the “warrior” part of the equation is all but neglected, with her fight against another tribe’s chief, to prove herself capable of leading the revolt, among the least-convincing in television history. She is also burdened with two daughters who appear largely to have strayed in from a family sit-com of the era, and Gothard as a loony Druid priest, perpetually burbling about “angering the Gods.” Perhaps the only other decent performance is Hawthorne as the Roman bureaucrat who is the trigger for, and the first to face, Boudicca’s wrath. He would go on to comedic stardom, playing Sir Humphrey Appleby in Yes, Minister, though is best known worldwide as Dr. Cocteau in Demolition Man, and brings much the same combination of world-weariness and snooty arrogance to this role.

However, the absolute poverty-row level of costumes, sets and (in particular) the battle scenes are easily what will leave the most lasting impression, and I don’t mean that in a good way: it’s hard to say how it might ever have past muster, even in the days of a less-sophisticated viewing audience (I was 12, and certainly less-sophisticated!). The net result is that this has all the impact of something made on the cheap for showing to schools, and given the trouble I had retaining consciousness, would likely not have enlivened even the dullest of history lessons.

Dir: Michael Custance and Neville Green
Star: Sian Phillips, Michael Gothard, Patti Love, Nigel Hawthorne