This is a strange film that veers from expressionist noir to knockabout comedy throughout. The noir is brilliantly done but the ‘comedy’ distracts. Part of the post-war ‘spiv’ cycle where the bad guys are those who had a ‘good’ war economically by running the ‘black’ market, Noose doesn’t seem to have enough confidence in its material. Maybe the director decided to have some fun by messing about with camera angles and lighting whilst indulging in occasional slapstick. Edward T Greville’s direction veers between the brilliant and daft. At times it seemed like a bargain basement Citizen Kane: when a character looks at a dance floor through cut glass we see the fragmented images. The opening is a bravura shot of Bar (Nigel Patrick) arriving at work (it’s not quite one take but that was clearly the intention) and, to indicate the inebriation of a character who hiccoughs, the camera tilts left-right-left-right.
This film’s also interesting for the female protagonist played by Carole Landis in her last film before committing suicide. She’s a feisty American fashion reporter in London who decides to expose Joseph Calleia’s black market racket. She’s somewhat blasé about what’s she’s doing and BFI’s Screenonline piece is worth reading as it points out the narrative’s opposition between the ‘bad’ foreigners and the ‘good’ British criminal fraternity. I disagree about Nigel Patrick, however, who the piece suggests is over-theatrical; I found his performance entirely engaging. It was one of his first films and he became a stalwart of British cinema.
Noose (The Silk Noose in America) is an unusual example of a film that mixes its styles in a rather haphazard way which is a pity as many of the noir scenes are compelling.
Sometimes you find that your selection criteria for festival screenings goes awry. Mobile Homes started late because though we were told the lead actors had arrived they didn’t actually appear in the cinema until 15 mins past the advertised screening start time. I’d chosen the film thinking it was a Canadian film with a French co-production partner. I was bemused that it should have two British leads, Imogen Poots and Callum Turner, but I assumed that the director was French-Canadian. Wrong.
Vladimir de Fontenay won a prize with his short film Mobile Homes in 2013. He is a French director who has lived and worked in the US and studied at New York University Film School which gave him considerable support to help make this extended/’opened out’ version of his short as his first feature. He originated the story based on his experience of areas in upstate New York. Why did he end up shooting over the border with a Canadian crew? The obvious answer is that a France-Canada co-production would be official and would be eligible for both Canadian and French support from public agencies, but there is no indication of this. Does any of this matter, you may well ask. I think so.
The film’s title is both metaphorical and actual. Ali (Imogen Poots) and her son Bone (Frank Oulton) have teamed up with Evan (Callum Turner), a hustler dealing drugs and roosters for illegal fights. The trio move from one motel to the next or squat somewhere overnight. They have no ‘home’, either in terms of a permanent residence or as ‘a place to call their own’. When they become separated, Ali and Bone find themselves in a wooden house which is being transported on a low loader by Robert (Callum Keith Rennie) who runs a small ‘park’ of these wooden buildings. This is confusing for Brits as we tend to think of a ‘mobile home’ as a trailer, a caravan or a van with sleeping accommodation. These are bigger buildings without wheels of their own. They are assembled in a factory and then moved to a ‘park’. Evan, having lost Ali and Bone will come looking for them in the last section of the narrative.
The film is fast-paced in the opening section with the camera whipping about as the trio try to make money from various deals. The cinematography is by Benoit Soler who also shot Ilo, Ilo (Singapore 2013), a very different kind of film that I liked a lot. When the ‘split’ takes place, the pace slows a little but I was dreading the return of Evan. Imogen Poots does very well with her role and Frank Boulton as Bone is excellent. This part might have been a social realist drama. I’ve seen Poots in several roles and she’s always been impressive. There is music in the film, but the most important song (the only one I recognised) was Etta James’ version of ‘I’d Rather Go Blind’ – an odd choice, especially as it’s a live version. You may have noticed that I’m being rather down on the Evan character who is described in some promotional material as ‘intoxicating’. I don’t think so. The actor Callum Turner has a list of credits in TV and mainly mainstream films, none of which I’ve seen, but he clearly has a fan following and star potential. He and Imogen Poots offered a rather ‘starry’ Q&A which went down very well with the festival audience. The fourth major character Robert is a potential balance for Evan and as played by the Alberta-raised actor Callum Keith Rennie he adds further weight to the central section of the narrative.
I suspect it is my (old) age (and interest in Canadian cinema) that made me less than sympathetic about the film overall. The lack of Canadian identity in the film (no recognisable Eastern Canada accents or distinctive locations) made it feel like it could be happening anywhere. The whole narrative didn’t seem to hold together – the third section includes a dramatic action sequence which in some ways matches the earlier scenes. What starts off as an odd crime melodrama transforms into a social drama/melodrama and then a road movie of sorts. You’ll be able to make up your own minds later this year in the UK with a release via Thunderbird (a Canadian company I think).
This screening in the CRIME: Hong Kong Style season at HOME featured a Q&A with director Felix Chong chaired by season curator Andy Willis. The director’s responses made for an entertaining post-screening discussion but it was the film itself that made the most impression. Interest in the screening meant that we were in HOME’s biggest cinema auditorium and the film was projected from a 35mm print in good condition for its UK première appearance.
Once a Gangster is a comedy crime film with the same mix of slapstick and violence as The Pilferer’s Progress earlier in the season, but it is much more concerned with what used to be term ‘intertextuality’ in the high period of postmodernism. In other words, many of the laughs in the film are based on recognition of the comic targets drawn from other films. The basic premise of the narrative mirrors that of Johnnie To’s Election (2005) (showing later in the season at HOME). The election of a new triad chairman is being organised and three candidates are being promoted by their supporters, two of them very reluctantly. The film’s climax will involve a search for the authentic Dragon Bone – the symbol of the chair’s authority (here neatly stamped with the legend ‘Made in Hong Kong’). The innovation here is a prologue set several years earlier in which we see a young chef joining the triad in order to be successful in the restaurant business. This is ‘Roast Pork’ who will become one of the contenders for Chairman in the main narrative. Meanwhile ‘Swallow’ (or ‘Sparrow’) has been in prison and is nominated by his mother as another candidate. The joke here for HK crime film fans is that these two contenders are played by Jordan Chan and Ekin Cheng, stars of the 1990s series Young and Dangerous.
Felix Chong takes a pot-shot at his own work as well. He was one of the main scriptwriters on the Infernal Affairs trilogy in the early 2000s and here he introduces an undercover cop played by Wilfred Lau as a ‘look-alike’ Tony Leung. This hapless character is the personal assistant of the third contender for Triad Chairman, the equally gormless ‘Scissors’ (Conroy Chan). There are probably several more references like this but they escaped me during the screening. I did react to the music which from the opening credits announced the nature of the fictional world about to be presented to us. I recognised the reference to Italian popular films and later Felix Chong confirmed that he had chosen “spaghetti western music” simply because he thought it was funny. The film also delivers several very funny sight gags, some with an almost cartoonish quality (including a nod to the ‘One-Armed Swordsman’).
The film overall has a strange ‘out of time’ feel. A series of flashbacks are presented in grainy, scratched and colour degraded stock but the prologue and the ‘present’ both feel like they could be the 1980s. ‘Swallow’ emerges from prison proclaiming the ‘wise words’ of Milton Friedman, the economist responsible for the spread of monetarism in the 1980s. Friedman did visit Hong Kong and promoted its economy as a good example of the ‘free market’. I guess his ideas do fit a gangster’s conception of the world but I thought the appearance of Friedman’s book was the most terrifying thing in the film. The book appears in a scene featuring a bookshop and several audience members responded to this with recognition of the current censorship by the mainland government and the ‘disappearance’ of booksellers. There may well be references to the 2010 political situation in the film, but I didn’t notice them.
In the Q&A Felix Chong admitted that the film had not been a big hit. He told us the budget was small and that he had only 20 days to shoot the film so in the circumstances he did rather well! Most interesting, he told us that when he screened the film, both police officers and gangsters asked him how he knew so much about what happened in these kinds of situations. We take this with a sackful of salt perhaps but I take much more notice of his comments that the ‘godfathers’ of crime are now sending their sons (and daughters?) to university to get MBAs. In the film, Swallow is a reluctant contender for triad chair because he wants to go to Hong Kong University to study economics (again a trope recognisable from Election in 2005).
Felix Chong also wrote and co-directed three Overheard films (2009/11/14). Two of these have already been screened in the CRIME: Hong Kong Style season and the third is tonight with Felix Chong again present for a Q&A. I wish I could be there – I’m sure it will be another treat.
This was one of the more unusual screenings in CRIME: Hong Kong Style at HOME, Manchester. Fraser Elliott from the University of Manchester introduced the film and gave us some interesting context. This was the fifth film from John Woo and a box office smash in Hong Kong. At this point Woo was working for Golden Harvest the local company taking over from Shaw Brothers as the leader of the HK industry. For those (most of us?) who only know John Woo from his ‘Heroic Bloodshed’ period and his later flirtation with Hollywood before the return to China, this broad Cantonese comedy might be something of a shock.
The simple plot sees conman, ‘Dragon’ in an uneasy alliance with would-be body-guard ‘Poison’, played by local stars Richard Ng and Ricky Hui, brought together in adversity and forced into a game of punch and counter-punch with a wealthy but crooked businessman ‘Rich Chan’. Chan has stolen some diamonds and our two heroes end up trying to get them back on behalf of the film’s romantic interest, ‘Mary’, whose uncle is the real owner. Our two heroes also hope to make some money on the side.
Fraser argued that the film appeared at a time when Hong Kong’s economy was in turmoil and many workers in traditional industries had lost their jobs. Stories about making money were popular – and the new wealthy types were unpopular. In terms of the film industry there was a move away from the Mandarin language wuxia and melodramas and the rise of Cantonese cinema and kung fu. The Pilferer’s Progress can be seen as a then new form of hybrid genre. Clearly modelled on the ‘buddy movie’ (John Woo seems to have been a fan of Butch Cassidy and The Sundance Kid amongst other films) popular in 1970s Hollywood, there are plenty of other filmic references as well as direct imports from the Bruce Lee films of the early 1970s also from Golden Harvest. As well as martial arts sequences there are traditional slapstick routines, references to spy movies (Dragon is a gadget freak with a new gadget for each task) and an hommage to Jules Dassin’s Topkapi (1964), later to appear in Mission Impossible (see the still above) and thus referencing the ‘caper’ movie.
Omar Ahmed’s post on the screening draws parallels between Hong Kong cinema in the 1970s and what was happening in popular Hindi cinema (not yet generally known as ‘Bollywood’, more often as masala films) in the same period. Omar suggests that it was a one-way traffic between the two with India importing martial arts display from Hong Kong, but both cinemas were also absorbing popular traits from international hits. Dragon’s use of technology perhaps refers to The Conversation from 1974. At the same time, both Cantonese and Hindi films drew on long-standing comic types in offering fun to popular audiences and The Pilferer’s Progress refers to local cultural figures – such as “the Golden Shaolin Warriors” as one IMDB user calls them. I think this is a reference to the final fight sequence in which the bad guy gets dipped in paint.
The ‘comic business’ in the film was familiar to me from slightly more recent New Year films and I confess that at the start of the film I did wonder whether I could cope with this for 90 minutes. I was pleasantly surprised to find that the sheer athleticism of the performers and their comic timing won me over and I laughed/groaned out loud on several occasions. It was good to see some gags that had survived since the 1920s or even earlier. Before CGI performers really did have to ‘perform’ in these kinds of films.
From what I could glean from the credits, the print came via Star TV and carried a 1993 logo. The programme notes suggested that we were watching a DigiBeta copy of the film on HOME’s second largest screen. The ‘Scope print did indeed show it’s age and was in places distorted and degraded but again it’s to the credit of Woo and his team that the entertainment level was maintained. It’s great that the HOME programmers and their sponsors could get a print at all but it does show the dire state of archiving from the period – a problem that goes way beyond Hong Kong and in the new digital age will continue to grow without more international co-operation.