This past weekend, the Brattle Theatre in Harvard Square hosted the exclusive Boston area premiere of Johnny To's "Exiled." There will be multiple screenings held until Thursday, giving locals a small taste of popular Asian cinema.
The internationally acclaimed Hong Kong director puts a unique spin on the crime thriller in his recent movie about the Chinese mafia. Unlike similar films, To casually adds a touch of Western flair in homage to some of the genre's most prominent filmmakers. Yet this fast-paced action flick does not stray too far from its roots; the stylized shootout sequences keep on coming with the force of a speeding bullet.
Two hitmen, Tai (played by Francis Ng) and Fat (Suet Lam), have been ordered to kill Wo (Nick Cheung), an exiled gang-member who left Hong Kong for the Macau region after the birth of his first child. When the uninvited guests knock on the marked man's door, his wife (Josie Ho) feigns ignorance in an attempt to save her husband. Moments later, another pair of assassins, Blaze (Anthony Wong) and Cat (Roy Cheung), shows up.
The opening scene culminates with the surprising revelation that all five gangsters are childhood friends with more loyalty to each other than toward Boss Fay (Simon Yam), the leader of a powerful crime syndicate. They band together in defiance of the mafia so they can save themselves along with their honor. Staying alive, however, is no easy task when an army of cold-faced killers under Boss Fay's orders follow every move these underdogs make.
To's film is reminiscent of John Woo's earlier work, notably "The Killer" (1989), from the basic plot structure to the precisely choreographed action. There is always something flying through the air as the gangsters unload their pistols on each other. In one scene, set in an underground clinic for injured criminals, the hospital curtains violently flap across the room during one of the movie's most intense gunfights. The constant movement may distract the viewer's attention from what's going on, but it ultimately brings an aesthetic quality to the film that parallels Woo's meticulous shootout sequences.
"Exiled" makes the finest use of blood since Takeshi Kitano's "Zatoichi" (2003). In To's film, a gunshot wound sprays crimson clouds of vapor through the air, instead of creating the typical liquid flow. For every bullet that hits its target, an explosion of red particles bursts upwards into the sky. The original visuals alone make the action worth watching.
Still, the most interesting part about "Exiled" is its transgression of genres. The incorporation of Western conventions into an otherwise stereotypical action flick is apparent in both the writing and directing.
The general story recalls the underlying struggle of many classic Westerns: It pits five middlemen against a much stronger enemy, without concern for their unfavorable odds. Likewise, it's no coincidence that the heroes only drink whiskey from the bottle, smoke cigarettes mid-brawl and play harmonica after nightfall.
The various settings are chosen wisely but with decidedly Western undertones. The Macau region, slightly west of Hong Kong, has a desert-like feel, and the final showdown takes place in a quasi-hacienda that operates as a base for the mafia and a brothel for a money-grubbing prostitute. The soundtrack makes its own contributions to the Western vibe; the musical accompaniment frequently refers back to a soft and moody guitar picking.
The film's only weak point is its incoherent plot. The major catalysts often don't make much sense, since there is little explanation for the main characters' motives. Yet the audience is invited to go along with it anyway.
"Exiled" takes the action much more seriously than the story. If you're willing to suspend disbelief for the thrill of watching a stunning display of blazing guns and blood splatters, then head over to the Brattle for a rare chance to see some of Hong Kong's best filmmaking.
