Tag: sport

Mary Kom

  By

★★★
“Firsts of fury…”

marykomThis was far from our first traditionally “Bollywood” film, but was the first such with what could be described as an action heroine. Traditionally, the women in Bollywood films are relegated to love interests for the square-jawed heroes. Not that this necessarily makes for a bad film [far from it, some are enormously entertaining], just that they don’t fall within the remit of our coverage here. This one squarely does, although also succumbs to many of the clichés of plucky underdog sports stories, shamelessly manipulating what was already an impressive story, purely to tug on the cinematic heart-strings.

The heroine is Mangte Chungeijang Kom (Chopra), the tomboyish daughter of a poor rice-farmer (Das), whose quick temper has got her into trouble more than once. Her parents try to deflect this energy into sports, but when she stumbles into a gym run by the stern coach Narjit Singh (Thapa), she realizes that’s her true calling, and begins training there with the knowledge of her mother, but not her father. When he finds out, he gives Mary an ultimatum: boxing or her family. Guess how that goes. She becomes world champion in her weight class, but then gives up the sport for marriage and to start a family. However, unable to settle down, her husband (Kumaar) convinces Mary to make a comeback, something rarely seen after becoming a mother. She’ll face obstacles, not just from her opponents, but also from her own body, the sport’s administrators and the distraction of a child’s health issues.

Wisely, Kumar avoids the traditional staged musical numbers, instead incorporating the songs which are almost de rigeur for Bollywood, into things such as multiple training montages. Some are more effective than others, and as noted, it does tend to fall into the trap of shallow stereotypes too often. I’m not sure about Chopra, who certainly is nowhere near as well-muscled as the poster would have you believe, and the fights themselves are a bit of a mixed bag. However, Chopra’s acting talents are certainly up to the task, and if the final reel is factually dubious, Kumar throws everything but the kitchen sink into its depiction and, much like Mary herself, pulls off an unlikely victory – albeit by a split decision on points. With a central character that’s not only a woman, but one from an area of India barely regarded as part of the country, credit is certainly due for pushing the boundaries of popular Indian cinema. It’s just a shame there was no such sense of adventure with the well-worn storyline.

Dir: Omung Kumar
Star: Priyanka Chopra, Darshan Kumaar, Sunil Thapa, Robin Das

Fair Play

  By

★★★
“Czech out those legs…”

fairplayTeenage sprinter Anna (Bárdos) is on the edge of making the Olympics with the Czech national team, but still needs to meet the qualifying time. She’s being brought up by her mother, Irena (Geislerová), a former tennis prodigy, now reduced to working as a cleaning lady – in part because of the defection for the West of her husband. Irena also secretly transcribes underground documents for a dissident, Marek. Coach Bohdan (Luknár) pushes Anna hard to reach her maximum potential, and gives her “Stromba”, a substance that helps her performance, but screws up her health. She stops taking it, believing it to be an illegal steroid: when her coach finds out, he enlists Irena’s help to inject her daughter surreptitiously, saying it’s the only way Anna will make the squad. Reluctantly, Irena agrees, unwilling to see her daughter lose out in the same way she did. But as the authorities close in on Marek, the two women become pawns in a political game, with their common Olympic dream now used as leverage against them.

This makes an interesting companion piece to Goldengirl, with both films telling a similar story about female runners in the early eighties, whose family and mentors are prepared to go to any lengths to achieve success at the Olympics. Goldengirl unfolded in the lead-up to 1980’s Moscow Games, but subsequent history rendered it obsolete, as America boycotted them. Fair Play shows things from the other side of the Iron Curtain, in the lead-up to the 1984 Los Angeles games – which the Eastern Bloc similarly spurned. The benefit of time allows the film to incorporate this history into an ironic postscript for its narrative and, while less SF-oriented than its American cousin, the attitudes of both heroines, and the approach of their supporting cast, have a surprising amount in common. The main difference here is, the doping regime is state-sanctioned; in Goldengirl, it’s free-market forces driving the “win at any costs” mentality.

The piece makes a pointed connection between Anna and Irena’s situations, both coming under pressure to compromise their personal morality for personal gain – one sporting, the other judicial. It’s this stand which represents the true heroism to be found here, though the script struggles to escape from the obvious clichés of Soviet Bloc culture. The other main weakness is the actual athletics, which never give the impression of anyone moving at more than an energetic jog, while the thread involving Anna’s relationship with a boy doesn’t go anywhere of significance at all. In the final analysis, it’s a worthy enough effort, if rather too earnest to be wholly successful. You can see why it became the official Czech entry for this year’s Academy Awards – and equally as much, why the Academy then decided it wasn’t worthy of making the final nominees.

Dir: Andrea Sedláčková
Star: Judit Bárdos, Roman Luknár, Anna Geislerová, Ondrej Novák

Deep Gold

  By

★★½
“Sea minus.”

deep goldI love reading IMDb reviews where half are “totally brilliant film-making!” [obviously by people related to the production, who have generally reviewed nothing else] and half are “worst movie ever!” More than half the votes here are either 10’s or 1’s: of course, the truth lies in the middle. This is proficient, with occasional aspirations to competence, along with some nice production values and scenery, yet founders mostly on a bad script, partly on a misguided belief that filming underwater is interesting, in and by itself. That probably hasn’t been true since Jacques-Yves Cousteau hung up his Undersea World snorkel at the start of the eighties. Maybe these sequences worked better in 3D, as originally shot?

It’s the story of two sisters, Amy (Pham) and Jess (Ong): the former is a free-diving champion, but the latter refuses to go into the sea [there are reasons for this, explained in flashback; they are, however, irrelevant. Of course, her hydrophobia is an obvious foreshadow of the movie’s climax]. Amy’s boyfriend is in the Air Force, but vanishes along with his plane, transporting a cargo of gold back to Manilla. The Air Force suspect he and Amy may have staged the disappearance to solve their financial problems, and so the sisters head for where reports indicate the aircraft went down. Which isn’t anywhere near where the search is taking place. Hmm. There, they team up with a local businesswoman (Prudent), and also travel journalist, Benny Simpson (director Gleissner pulling double-duty), only to find they are not the only people interested in recovering the golden treasure.

I’m not the only person to have reviewed this and been reminded of the work of Andy Sidaris, with which it shares a tropical location and actresses cast more for their looks than their variable thespian abilities. This does have a glossier sheen; on the other hand, if you’re hoping for any nudity, look elsewhere. I think the main problem is the old “acting in your second language” issue, which appears to be the case for most of the cast. Pham has to do most of the heavy lifting, and nails only about one line in three, with others sounding more as if they are delivered through phonetic translation. When things are in motion and SCUBA-free, the film fares rather better. The action scenes are decently staged, the pick likely being Amy getting chased around a library by a slew of thugs, though the final ship-board encounter is nicely done as well. However, embarrassing sloppiness counters this, such an abduction scene where it looks like the same henchman climbs into the car twice, once in the back and once in the front, while Amy’s hands mysteriously get bound, albeit with the sort of constraint she can literally shake off.

It works mostly as a very nice promotional piece for the local tourist board, and if you’re looking for something pleasant looking and possessing absolutely no depth, you could do a lot worse. However, the more you look at this in detail, the more you will likely find yourself going, “Hang on…”, and that’s even before a final credits sequence where the actual local mayor reveals some kinda important storyline information. It’s just another part of a plot which strains even my credulity, and leaves the movie, if not sunk, certainly holed below the waterline.

Dir: Michael Gleissner
Star: Bebe Pham, Jaymee Ong, Michael Gleissner, Laury Prudent

Goldengirl

  By

★★
“Run Goldine Run”

goldengirlAnd Frankenstein Created Woman? That might have been an alternate title, with German scientist Dr. Serafin (Jurgens) in the role of the creator – he’s a man with a dubious past, and whispers of involvement in Nazi experimentation. Now “rehabilitated” to the US, in what may be a medical version of Operation Paper Clip, he uses an unholy mix of pharmaceuticals and extreme training methods to convert his own daughter, Goldine, into a 6’2″ athletic superwoman, with the aim of completing an unheard of triple crown at the upcoming Moscow Olympics, winning the 100, 200 and 400 metre gold medals. To fund this work, he brings in a consortium of businessmen who aim to capitalize on Goldine’s success with advertising, merchandising, etc. Brought in to advise them, as Goldine is prepared for her first public events, is agent Jack Dryden (Coburn), who gradually realizes the one person not wholeheartedly committed to the entire proceedings, is the runner herself.

This is a curious period piece, which almost feels like it’s set in an alternate universe – as history turned out, Russia invaded Afghanistan and the United States ended up boycotting those 1980 Olympics entirely. This does have some interesting things to say about parents who force their own ambitions onto their offspring, without considering their childrens’ desires, or even best interests, and also about the “shamateurism” of the Olympics. However, this is countered by some odd aspects such as Goldine’s vibrator-based press conference training, whose mere description appears to have strayed in from an entirely different movie. The film would also have benefited from a greater focus on the heroine, and what she wants out of life; that’s an area left almost entirely unexplored, with Goldine left more as a palimpsest for the demands of others.

Even if a couple of inches short of the necessary height at 5’11”, Anton, a former Miss California, certainly makes a striking figure, and the film wastes no opportunity to show off her… er., striking figure. Though when you see her competing, many of those against whom she races were actual athletes, and the difference between their, much more heavily muscled physiques, and her wispy frame is obvious. Bill Conti’s score occasionally threatens to overpower everything, most notably during the musical training montage number, also sung by Anton. However, even if its more of a “Good effort!” than an Olympic champion, it remains one of the few sports movies with a focus on the women’s side of the stadium.

Dir: Joseph Sargent
Star: Susan Anton, James Coburn, Curt Jurgens, Leslie Caron

Shaolin Girl

  By

★★★
“Shaolin lacrosse, rather than soccer.”

Shaolin Girl photo 02Rin Sakurazawa (Shibasaki) has been training in shaolin kung-fu for over eight years. When she returns to Japan, she finds her dojo abandoned and derelict, and her former master Kenji Iwai (Eguchi) is now working as a cook in a local restaurant. She is recruited by a waitress there, Minmin (Yuqi). for the lacrosse team at the local Seikan University, but learns some harsh lessons on the nature of teamwork The university president, Yuichiro Oba (Nakamura), has another agenda, and seeks to draw Rin over to the dark side, by getting her to use her skills for more violent ends which he can then exploit. But it turns out that she was sent to China for good reason…

After the recently reviewed Beach Spike took volleyball to extremes, albeit to dubious effect, the inspiration here is equally obvious. That’s clearest during the end credits, when a lacrosse shot does exactly the same “turning into a fiery dragon” thing as in Shaolin Soccer. Still, despite having Stephen Chow as executive producer, and the presence in minor roles of a couple of actors from Chow’s Western breakout, in Chi Chung Lam and Kai Man Tin, this does go its own way for much of the film. Fortunately, it doesn’t try to reproduce the “plucky bunch of underdogs” story, which Soccer was affectionately parodying. This is far more about Rin’s personal journey of enlightenment, as she realizes there’s more to that than simply the physical aspects. Indeed, if you’re looking for action, the first two-thirds of this will be pretty disappointing, and even the lacrosse games aren’t very interesting.

Things certainly perk up in the final act, Rin eventually being provoked – mostly through attacks by Oba’s minions on everyone she cares for – into an assault on the villain’s lair. This appears to bear some relation to Bruce Lee’s unfinished Game of Death, as she works her way up through a pagoda, to the top level where she faces Oba, and… Well, things veer off into Matrix territory, with Rin apparently being The One, or something. If heavy on the CGI, it’s certainly spectacular, with the water effects being particularly lovely. All told, I didn’t mind this: it struck a nice balance between the elements, and it’s a winning performance from Shibasaki. However, it certainly suffers in comparison with its predecessor, and it appears clear Chow’s work on this, involved little more than cashing the cheques.

Dir: Katsuyuki Motohiro
Star: Ko Shibasaki, Tôru Nakamura, Kitty Zhang Yuqi, Yosuke Eguchi

Beach Spike

  By

★★
“Shaolin Volleyball.”

beachspikeSharon (Chau) and Rachel (Fu) have a pretty idyllic life, spending their days mostly on the beach playing volleyball, with occasional bouts of clubbing and very occasional work. But this relaxed approach to things is threatened by the Brewer family, who plan to turn the entire seafront into a megaresort, displacing all the happy local beach-bums. Leading the charge is family daughter Natalie (C, whom I can only presume was named by the same model-actress-whatever department to give us Maggie Q), who has a hatred for the “little people” and, along with her sister, kicks the arse of Sharon and Rachel in an early contest.

Through a series of frankly implausible events, and clouded by the blossoming relationship between Sharon and Brewer scion Tim (Law), the future of the resort project hangs on a rematch, the two teams making their way through a tournament to face each other in the final. However, anyone familiar with kung-fu movies will not be surprised to hear the good girls have been getting training from relatives well-versed in martial arts, and they won’t be such a pushover in the second battle.

It’s hard to work out exactly who the audience for this mess is supposed to be. Beach volleyball fans will hate the dreadful CGI, used to portray any protracted rallies, in lieu of actual skill, and likely find the heroines implausibly unmuscled (one in particular looks like she will shatter if dropped). Action fans will find little to remember here either, despite the presence of veteran heroine Yeung Pan Pan as Mrs Tao, and despite an obvious influence being Shaolin Soccer, there isn’t a trace of Stephen Chow’s wit. Even those looking for pleasures of a more exploitative nature will likely get bored, sitting through the lengthy comedic and romantic interludes.

I suppose those fascinated by Acting Performances In A Second Language might get a kick out of the Brewer family, who deliver lines in English about as well as I could in Cantonese. But I think the main intended market for this is a fetish one, and fairly specific at that. If you like seeing women hit in the face by balls, this is the movie for you. No, really. particularly during a competitive montage at the end, where it becomes a virtual barrage of ball-to-face action, including in slow-mo. Otherwise, the idiocy of the plot and blandness of the lead characters overpower much of whatever potential this had, and Wanted: DOA did a much better job with the sport. Probably, this needed either to be taken completely seriously or go over-the-top entirely and head into total parody (like Soccer did). Instead, this does neither, and the end results just sit in front of you like a beached whale for 95 minutes.

Dir: Tony Tang
Star: Chrissie Chau, Theresa Fu, Him Law, Jessica C

Maidentrip

  By

★★
“A two-year round-the-world voyage. Filmed, apparently, in real time.”

MaidenTrip-posterWhat were you doing when you were 14? Going to school. Hanging out with friends. Being highly irritated by your parents. That’s probably fairly close. I’m quite sure the answer isn’t “spending two years sailing around the world by yourself.” Which would be Laura Dekker’s answer. The film chronicles her single-handed sailing expedition, as well as the path of her life which led her to the epic voyage, and the battle against the Dutch government, who considered the trip dangerous, and wanted to remove Laura from parental custody as a result.  [That aspect reminded me of Ready to Fly, where the women ski-jumpers also had to go to court as part of their battle for acceptance]

The bulk, however, is about the trip itself, with the on-board footage all filmed by Dekker herself, for obvious reasons connected to the word “single-handed” – fortunately, my fears of sub-Blair Witch shakycam proved unfounded. The main problem is the almost complete lack of any drama here. Maybe there’s more if you are a sailing enthusiast, but about as exciting as it gets, is a bit of rough weather and a bird that takes refuge on the deck. The only narrative tension is Laura’s decision to switch from sailing under the Dutch flag to that of the country where she was born (on a boat), New Zealand. I appreciate that you can’t manufacture drama where none happened, but this seems less like the taxing and potentially lethal endeavour it would seem to be, and more like a jaunt around a village pond on a slightly-overcast Saturday afternoon. One bit of ocean blends into another, and perhaps the most interesting parts are during Dekker’s sometimes lengthy stopovers en route, where she explores the local landscape.

Dekker herself generally comes over as remarkably mature for her age – 14 when she started, 16 by the time she completed the circumnavigation – albeit occasionally a bit bratty. That’s perhaps exacerbated by her basically fending for herself for two years, though if you’ve raised a teenage girl, you’ll know that’s pretty much par for the course, and any self-centredness is backed by an ability to handle whatever the world throws at her, well in excess of that possessed by a normal adolescent. However, nor is there much sense of character development, and you don’t get any sense the Laura you see at the end was changed in any significant way by her experience. The film definitely needs to dig deeper into what makes Dekker tick, and the apparent failure to do so, leaves it as not much more than a shallow, if pretty, travelogue. The heroine deserves a bit better.

Dir: Jillian Schlesinger
Star: Laura Dekker

Ready to Fly

  By

★★★½
“Is it a bird? Is it a plane?”

readytoflyI took some skiing lessons back when I was at university, on the dry slope, but my sole experience of doing it on actual snow was a one-day trip: the real thing is considerably colder, faster and a great deal harder, let me assure you. So, the prospect of whizzing down a ramp, going off the end at 50-60 mph, and flying through the air for the length of a football field or thereabout… Well, anyone who does ski-jumping has my respect – and all the more so when, like the women in this documentary, as well as fighting gravity, they have to go up against the (literal) old boys’ network of the International Olympic Committee, who had succeeded in keeping women’s ski-jumping off the program, making it the sole “men only” sport in the winter games.

The documentary focuses, in particular, on Lindsey Van, who was the first ever women’s world champion, and was one of the plaintiffs in a lawsuit against the, IOC to force them to include ski-jumping in the 2010 Vancouver games. The judge agreed there was discrimination, but refused to make the IOC comply – ironic that, going into the Olympics, Van actually held the record for the longest jump on the hill where the games took place. Lindsey briefly quit the pastime to which she had dedicated her life, in disgust at that decision.

However, she couldn’t stay away for very long, and to date has gone through four knee surgeries and a ruptured spleen in pursuit of her sport, while also struggling to get sufficient funding, in part due to the lack of Olympic acceptance. But the IOC agreed to consider ski-jumping again for the 2014 games in Russia – providing the 2011 women’s world championships are deemed of acceptable standard. Will the fly-girls get their day? Or as one of their former vice-presidents hints, could the committee bear a grudge against the sport, for the embarrassment of the lawsuit with which they were targeted?

To be honest, there’s no particular drama here, since a quick Google will tell you that, yes, women’s ski-jumping is indeed in the 2014 edition, which start next week [making it particularly appropriate to write about this film now]. However, it’s still a solid and generally engrossing documentary, about a sport that certainly deserves more coverage than it has received, though this seems rather too reliant on over-dramatic music, and Nyad’s narration is unremarkable. It’s at its best when not actually on the slopes, presenting Van and her team-mates as people; never mind the jumping, perhaps the most heroic thing is her donation of bone marrow to save the life of someone whom she doesn’t even know. Her low-key approach to that can only be admired.

I’m not a great winter sports person, and my interest in the upcoming Olympics is generally likely to be light. But I think I might just tune in on February 11, and witness history in the making. I’d recommend checking this film out as well, because it’ll probably inspire you in a similar way – though you still won’t be seeing me on a chair-lift any time soon!

Dir: William A. Kerig
Star: Lindsey Van, Jessica Jerome, Alissa Johnson, Diana Nyad (narrator)

Offside (2006)

  By

★★★★
“Come and have a go, if you think you’re hard enough.”

Being an action heroine is a rebellious, possibly revolutionary, act against society: what counts, depends entirely on how your society views women. Going to a soccer game, for example, would not qualify you in the Western world – but as in Ancient Greece, sporting events in Iran are strictly male-only, and a woman who attends one and gets caught, will find herself handed over to the Vice Squad. It redefines requirements somewhat, to say the least. The film tells the story of a number of women, who dress as men to sneak into a crucial 2005 World Cup qualifier between Iran and Bahrain, only to find their disguises imperfect. They’re held in an area, just out of sight of the game, by a group of soldiers, who really have better things to do themselves.

There’s a beautiful documentary feel; Panahi fooled the authorities into letting him film at the stadium, during the game depicted, by submitting a fake synopsis to authorities (this might have partly led to them refusing permission for the movie to be shown in Iran) and let the outcome determine the end of his film, which may partly explain the somewhat lacklustre ending, feeling in need of a more definitive conclusion. Filmed with non-professional actors, we don’t even know the names of the women, but quick, expert strokes, still give them character, from the tomboy to the wallflower to the one who plays football herself; their only connection is a love of the game and their country, which has led them to break the law. Yet the film is also sympathetic to the provincial soldiers, who would rather be watching the game themselves, and despite the radically-different society, the humanity of everyone involved is Panahi’s main concern.

Particularly outstanding is Irani’s tomboy, who becomes the de facto leader of the group, and continually hassles the guards. The film has a surprising amount of straight-faced humour, such as her riposte when asked if she’s a boy or a girl: “Which do you prefer?” Or one girl’s response when told they can’t go in because the men will be cursing: “We promise not to listen.” Similarly, when another needs to use the bathroom, this poses problems, since naturally there are no women’s facilities. The solution involves the impromptu conversion of a poster into a mask, though this hardly resolves things. Obviously, it’s not a traditional genre piece, and it’s this inaction which stops it from getting a seal. It is, however a fine piece of cinema, regardless of whether you appreciate football or not.

As for why it’s here, the director describes the women as having “entered a forbidden space before the law has given them permission to do so. They don’t have that permission yet, but they’ve gone ahead and entered the territory anyway. They’ve overturned the rules.” That’s what lifts this film into inclusion on this site: it’s about women, refusing to conform to subservient roles enforced on them, and whose behaviour confounds such expectations. Earlier in 2005, seven people were killed in an accident at the same stadium, after a game against Japan: the newspapers only published six photos, and it’s rumoured the seventh was a woman who had snuck in to the game. You can certainly argue, but in their own way, those depicted here are ‘action heroines’ every bit as much as Sarah Connor or Ellen Ripley.

Dir: Jafar Panahi
Star: Shima Mobarak-Shahi, Safar Samandar, Shayesteh Irani, Ayda Sadeqi

Blue Crush

  By

★★★
“Life’s a beach, especially if you want to surf more than the Internet.”

The marketeers screwed up: aimed at teenage girls, our daughter refused to see it, on the grounds – Hollywood, please note – that their bikini tops and bottoms didn’t match in the poster… Anyway: Anne Marie (Bosworth) sees her ticket to stardom in a surf competition on Hawaii’s North Shore. But she has to come to terms with waves bigger than she’s ever faced before; a rebellious kid sister (Boorem); a dreadful job as a hotel maid; and, inevitably, the guy who wants to spend quality time with her on dry land (Davis), while her friend Eden (Rodriguez) tries to keep her focussed on surfing.

We’re firmly behind Eden on this one, since it’s only in the water that the film comes alive. Much credit to cinematographer David Hennings, who does an excellent job of capturing the power and intensity found in the unfettered ocean. The film needs this, as otherwise, there’s not much in the way of conflict – everyone turns out to be nice, even Anne Marie’s rivals in the surfing contest.

As is, it’s not bad, just easily predictable: maybe they should have tossed in a shark, or a giant octopus, or something, simply to spice things up a bit. A slight romance and flashbacks about a bang on the head are well short of realising the potential to be found in the magnificent Pacific setting. While there’s hardly anything new in its painfully obvious storyline, it will certainly inspire new respect, both for the sea, and those who challenge it armed with little more than a plank.

Dir: John Stockwell
Star: Kate Bosworth, Matthew Davis, Michelle Rodriguez, Mika Boorem