Tag: w

Die Wand (The Wall)

  By

★★★½
“Alone again… Unnaturally…”

diewand4This is a very different kind of GWG film: indeed, it could almost be called an inaction heroine movie. It starts from a very simple presence. A woman (Gedeck) wakes up in a cabin in the Austrian Alps. When she tried to head to a nearby village, the path is blocked by an unseen, impenetrable barrier that has sprung up overnight, and now defines the boundary of her world. Everyone outside is dead. What do you do? How do you survive, both short- and long-term? Could you handle the loneliness? Can you retain your humanity, when you are, apparently, the only human being left?

These are the questions which this film is interested in asking – much more so than prosaic ones, such as “Who put the wall there?” or “Can you maybe dig under it?” If you’re looking for a definitive resolution, go elsewhere too, because the film simply ends when the woman has to give up keeping her journal, because the supply of paper has run out. I suppose, technically, that’s a spoiler, but this is a film where it’s not the destination that matters, it’s the road which takes you there. And you’d better be able to handle a lot of voiceover, because there’s almost nothing else here. Normally, I regard voiceovers as a cinematic cop-out, for when you can’t be bothered to write dialogue or action; but, considering the heroine is virtually the only person you see over the course of the film, they’re basically essential here, and even in subtitles, have a poetic quality that is generally effective.

Admittedly, for long stretches, there’s nothing of significance going on, and if you’re not in the mood for some (very picturesque) navel-gazing, the lack of activity could become aggravating. However, I can’t say I was ever bored at all, and I’m quite surprised by that, since I am more likely to be seen tapping my foot impatiently, if ten minutes go by without a giant fireball. The cinematography, combined with the Alpine scenery, is quite luscious, and so even during the quieter moments – okay, quieter half-hours – this remains a visual treat. Gedeck’s performance is full of quiet strength; she simply gets on with the business of everyday survival, despite the bizarre twist life has taken. I suspect I wouldn’t handle the same situation anywhere near as well as her character does, and It’s that inner depth of fortitude, which makes it fit in here, despite the low-key nature of the content.

This is not the kind of film which necessarily creates any immediate impression. It finishes, in the same laid-back manner as the previous 105 minutes have unfolded. But over the days which followed, I found myself thinking about the questions it raised, and how my answers differed from the heroine’s, or where they overlapped. This lasting impact is one of the things which is generally the mark of a good film; it stays with you, when more ephemeral pleasures have been forgotten. While entirely devoid of pyrotechnics, this is still one which I’ll probably want to revisit and chew over again.

Dir: Julian Pölsler
Star: Martina Gedeck

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

Die Weibchen

  By

★★★½
“Deadlier than the male.”

This German 1970’s film is well ahead of its time in some ways, but is postively Neanderthal in others, being basically a scream of fear about women’s liberation. It feels like a far-less subtle version of Neil LaBute’s re-make of The Wicker Man, taking place in a matriarchal town, where women are in charge, with the exception of a couple of incompetent men, to lift heavy things and provide a facade of normality (the police commissioner is an alcoholic, who knows little and cares less about what’s going on). Into this scenario comes Eve (Glas), a stressed-out secretary who has been booked in for a six-week course of treatment at the local spa. It’s not long before she stumbles across the body of a man with a knife embedded in his back, only to discover that no-one believes her, with the clinic’s doctor telling people Eve is suffering from post-tramautic hallicinations. Is that the case, or is there something genuinely unpleasant going on? And what’s this on the dinner menu?

It’s clear this is a warning tale of what might happen if that pesky feminism is allowed to continue unchecked to its “logical” conclusion: there’s even an actual bra-burning, though fortunately it’s only the more photogenic members of the cast who take part in this. It does a particularly good job of straddling the line, where you’re not certain whether or not the whole thing is simply a product of Eve’s deranged imagination. It does finally come down to a decisive conclusion, with a scene which is surprisingly graphic for the time. Up until this point, the cinematography and direction do a nice job of capturing the hallucingenic feel of a nightmare, where it feels like you can only move in slow-motion and wherever you go, whatever is chasing you is already there ahead of you. However, it’s also surprisingly pro-feminist, in that it’s basically only the women who are portrayed as strong and competent: the men are all sex-obsessed or drooling idiots – occasionally both. If ever a film were guilty of sending out mixed messages, this would be it – but, surprisingly, I didn’t feel that hurt it much.

It’s certainly a unique entiry, perhaps to be filed alongside other seventies gynophobia, such as Invasion of the Bee Girls. However, with a woman at its protagonist, as well as the antagonists, this strikes a better balance between its elements and, despite occasional obviously dated elements, stands the test of almost half a century, better than I expected.

Dir: Zbynek Brynych
Star: Uschi Glas, Irina Demick, Francoise Fabian, Giorgio Ardisson
a.k.a. Mujeres carnivores

Wildcat Women

  By

★½
“In 3-D! If only the script or characters were…”

This was also released in a hardcore version as Black Lolita, but I’m not sure if that was 3D or not. Certainly, the DVD delivers about the worst such attempt I’ve ever seen. It’s in color, but also attempts the red/green method (glasses very early, and the only thing to be said for them is, they stop you seeing the film, which on the whole, is probably no bad thing. Lolita (Love) decides to team up with an air-stewardess and a yoga instructress to take down the local Mr. Big, who goes by the name Buddha – even though about all he shares with the Enlightened One is being Asian, since he’s neither fat nor pacifist.

This is all merely an excuse for some bad action scenes (despite some very enthusiastic blood-squibbing), and even worse sex scenes – these reach their nadir during a coupling between a scientist and a sexpot who’s only after his bugging device. [Which is about the size of a brick; we thought that was the receiver, until Lolita subsequently tried to place it “inconspicuously” on a table leg!] But it’s clear than none of the ‘actresses’ – and rarely have quotes been used more deliberately – were chosen for their thespian abilities.

It all ends in a fairground, with a shootout that probably doesn’t make much logical sense, but manages to kill off almost everyone in the film. Although, I can’t believe I just used the words “logical sense” in connection with three-dimensional, blaxploitation porn. Oh, well… Our tolerance for bad movies is significant here, but even we found this taxing to sit through. There’s better 3D, better blaxploitation, and better porn out there.

Dir: Eddie Romero
Stars: Yolanda Love, Sandi Carey, Suzi Adams, Joey Ginza
a.k.a. Black Lolita

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

Wonder Woman (Unaired TV Pilot)

  By

★★★
“Nowhere near as bad as you might think.”

Allowing for the fact this was more or less a rough-cut – you can still see the wires as the heroine throws villains around – this actually is far from the atrocity you expect, going from the pre-production fan loathing. The story avoid the whole “origins” thing, hitting the ground running by having Wonder Woman/Diana Prince (Palicki) already fully-active, and busting crime around Los Angeles. Her extra-legal activities, with the local cops’ complicity, bring her to the attention of the federal authorities. Meanwhile, she’s tussling with the board of her company over the merchandise that funds her crime-fighting, objecting to the size of the tits on her action-figure – and, yes, they actually say “tits”, to my surprise. Finally, the villainess (Hurley) is performing illegal medical experiments with steroids and such, to create super-soldiers, and it’s up to Wonder Woman, her plane (wisely, no longer invisible), bullet-deflecting bracelets and lasso which may or may not be of truth (it’s unclear from this episode) to stop her.

Yeah, there’s probably too much going on, as it establishes that Prince is not just an action heroine, but also a business mogul, being the CEO of Themyscira Industries, and a woman: y’know, with needs. They each have their separate identities: it’s a nice touch, though not all of this needed to be put across in the pilot I think. They might have been better off bringing the other angles in down the line. What does work, surprisingly well, is Palicki, who both looks the part – a particular surprise, given the heat the costume took – and manages to hit most of the dramatic points necessary. However, I can see how fans of the comic books would probably still hate it, since there’s barely any acknowledgment of her ancestry as the princess of an all-female tribe from a remote island.

I particularly liked the hard-edged “neo-vigilante” approach of Wonder Woman, who has no aversion to violence and at one point, flat out kills someone by driving a pipe through his neck. Don’t recall Lynda Carter doing that: The Dark Knight has a lot to answer for. On the down side, the script does have its fair share of cliches, from the grieving mother through to the romantic interest. But, really: you can turn on the television any night of the week and see far less interesting or well-considered excuses for series, which somehow managed to get themselves green-lit. It has potential to be, if not great, at least half-decent: given the lack of action heroines on TV these days, it’s a pity this one received the televisual equivalent of a wire coat-hanger.

Dir: Jeffrey Reiner
Star: Adrianne Palicki, Elizabeth Hurley, Carey Elwes, Tracie Thoms

Warrior Queen (2003)

  By

★★★½
“Rates much better as a drama than for historical accuracy.”

Probably best to approach this with few expectations of this being a factual representation of the time; more than once, it felt clearly like the writer was using the Roman occupation of Britain, and Boudica’s rebellion, as a metaphor for American’s involvement in Iraq. There are certainly enough anachronisms, particularly in the dialogue (the Roman Emperor chatting informally away with the leader of a British tribe, and references to “terrorists”), that it seems deliberate. The basic story is the one well-known of legend: after her husband’s death, and the raping of her daughters by the invading Romans, Boudica (Kingston) led her tribe in an initially successful revolt, only to be stopped when the full force of the Empire was turned on them.

There’s a lot of familiar faces here, most obviously Kingston, who is well-known (in this household, at least) as River Song from Doctor Who – I kept expecting Boudica to enter a scene and say, “Hello, sweetie!” But there’s also Potts, as a deeply creepy Emperor Nero, well before we knew him a nerd in Primeval, and Blunt, as one of Boudica’s daughters, has gone on to significant Hollywood fame. The performances are really what keeps this interesting: Kingston brings the right level of steely resolve to her role, and is particularly convincing when rousing her troops to battle. Equally as good is Michael Feast, as Roman general Suetonius, who is there because of a combination of “professional pride” and the Emperor’s whims, and puts across exactly the right sense of battle-weary experience.

What doesn’t work as well are the battles, in part because the budget for this falls well short of what we’re used to seeing in terms of the approximate period, e.g. Gladiator, 300. There are some moments of spectacle, such as a burning Roman encampment, or a plain covered with corpses, but the shortage of live extras is often embarrassingly obvious. They’re not well-shot either, with an irritating strobing effect which serves no purpose, and Boadica doesn’t do much actual fighting, mostly waving her sword from the back of a chariot [without spiked wheels, I was disappointed to note. Look, if you’re gonna play fast and loose with historical accuracy, you might as well include the coolest thing about the queen…]

Still, I can’t say we were bored, and the solid acting more than made up for the occasionally-shaky production values, though it is definitely important to go in to this, not expecting a Discovery channel documentary. Instead, this is Exhibit A, proving that when cinematic necessity and historical facts collide, the latter will almost always come off worse.

Dir: Bill Anderson
Star: Alex Kingston, Hugo Speer, Emily Blunt, Andrew Lee Potts

Wandering Ginza Butterfly

  By

★★
“More suited for ‘Cuties with Cues’ than this site.”

Nami is sent to jail for killing a Yakuza boss, and when she is released, returns to the Ginza district of Tokyo to live with her uncle, who runs a pool hall. She gets a job as a hostess in a bar, with the help of her new friend Ryuji (Watase), but the quiet life doesn’t last for long, even as she tries to help the widow of the man she killed – whose petition on behalf of Nami is what helped lead to her early release. For the local mob, in the shape of Okada (Nanbara) and his gang, are sniffing around the bar, seeking to take it over. To settle things, Nami offers to take on Okada’s champion at billiards, a challenge the gangster readily accepts, not realizing he has just been hustled, and that Nami is no mean player herself. Can she win – and even if she does, will Okada live up to his side of the bet?

While certainly fitting in to the overall themes of the genre, with a significant emphasis on revenge and its execution, this is another entry which downplays the more exploitative angles in favor of the dramatic elements. Put another way, if you want tits ‘n’ gore, look elsewhere. If, however, you want ten minutes of billiards with your heroine unconvincingly trying to imitate Paul Newman in The Hustler [a film whose poster can be seen lurking in the background during the match], this will be right up your alley. It’s only at the finale that this delivers; with the ever-loyal Ryuji at her side, Nami ploughs into the Yakuza gang’s HQ, to interrupt their group porno viewing, by releasing some of their other body fluids.

While Kaji possesses some undeniable presence, the script doesn’t live up to expectations, meandering off in directions that prove neither necessary nor interesting, and the billiards match – even with its bizarre drug-withdrawal subplot – is a poor substitute for action. The film was (inexplicably) successful enough commercially to lead to a sequel, which includes Sonny Chiba playing a comedic pimp – I sense this is likely not the best use of his talents, and won’t exactly be rushing to include it in this article.

Dir: Kazuhiko Yamaguchi
Star: Meiko Kaji, Tsunehiko Watase, Koji Nanbara, Tatsuo Umemiya

The Woman Knight of Mirror Lake

  By

★★★
“She was a saint, a saint, I tell you.”

I find the line between “terrorist” and “freedom fighter” an interesting one, drawn not so much by any objective measure, but by the viewer’s perspective and historical hindsight. Qiu Jin is a good example: she fought against the perceived oppression – particularly of women – by the Qing dynasty in the early 20th century, and ended up getting publicly beheaded for her support of revolutionary factions, by the government of the time. Now? A heroine and a martyr, who has an official museum ‘n’ stuff. Funny how things work out.

The main problem here is a film that’s almost too respectful of its subject matter: this is less a historical drama than a hagiography, with Qiu made out to be a flawless figure: devoted mother, heroic revolutionary, marvellous orator, great martial-artist, etc. Personally, it came over more as a propaganda movie than providing much credible insight into a historical figure. The structure is mostly in flashback, Qiu’s life unfolding during her arrest and trial in 1907, going all the way back to childhood and her first ‘rebellion’, when she refused to have her feet bound and quizzed her father on why only boys went to school. She was still entered into an arranged marriage with Wang Tingjun (Chang), but that doesn’t stop her from fomenting proto-feminism, poetry, and, when Wang rejects the value of her work, upping and heading off to Japan for a bit.

I did like Huang’s performance a lot – she cuts a commanding figure and it’s certainly easy to see why people followed her. There’s also one really good fight sequence early on – during her arrest, she battles the arresting officer, trying to destroy incriminating documents. Unfortunately, I was left wanting more like that, with the remaining battles more “rebels vs. army” brawls that don’t really give anyone the chance to shine. Instead, it heads more into the poetic side of her life, with Qiu taking more of a back seat, action-wise, rather than being the focus. However, Anthony Wong is as fun to watch as ever, playing a local magistrate (even if this falls far short of the exploitation insanity in his earlier work with Yau, such as The Ebola Syndrome and The Untold Story: not necessarily a bad thing, for a mainstream audience!).

Interestingly, this isn’t the only film about Qiu of late, with the documentary Autumn Gem also available. I’m curious to see it – obviously, being a doc, its approach will likely vary, but as the makers noted, some stills certainly look similar… Perhaps it might take a slightly less-reverent approach to the subject, depicting a human being rather than a flawless heroine.

Dir: Herman Yau
Star: Huang Yi, Kevin Cheng, Dennis To, Anthony Wong