sign in sign up
<<
Home , All About Women, A Better Tomorrow, A Better Tomorrow II, Bullet in the Head, Burning Paradise, Danny Lee (actor)

Please turn off cellphones during screening March 27, 2012 (XXIV:10) , THE KILLER (1989, 111 min.)

Written & Directed by John Woo Produced by Hark Tsui Original Music by (as Lowell Lowe) Cinematography by (as Peter Pao) and Wing-Hung Wong (as Wong Wing Hang) Film Editing by Kung Wing Fan (as Fan Kung Ming) Art Direction by Man-Wah Luk (as Luk Man Wah) Set Decoration by Chun-Ching Tai Stunt action coordinators Siu-Tung Ching (as Ching Siu Tung) and Chi-Ho Lau (as Lau Chi Ho)

Yun-Fat Chow…Ah Jong (as Chow Yun Fat) …Insp. Ying / Little Eagle …Jennie Kong Chu…Fung Sei (as Chu Kong) …Sgt. Tsang Yeh (as Tsang Kong) Fui-On Shing…Wong Hoi (as Shing Fui On) Wing-Cho Yip…Wong Dung-Yu 1992 The Legend of the Swordsman, 1991 Once Upon a Time in JOHN WOO (b. Yusen Wu, September 23, 1946, , , 1990 Zhong Ri nan bei he, 1990 The Swordsman, 1989 A China) has directed 39 films, some of which are 2009 Red Cliff Better Tomorrow III: Love and Death in Saigon, 1989 The Killer II, 2008 Red Cliff, 2003 Paycheck, 2002 Hostage, 2002 (as ), 1988 Gunmen, 1988 The Big Heat, 1987 A Better , 2000 Mission: Impossible II, 1997 Face/Off, 1996 Tomorrow II, 1986 Blues, 1986 A Better Broken Arrow, 1993 , 1992 , 1991 Once Tomorrow (as Tsui Hark), and 1985 King Worker. a Thief, 1990 , 1989 The Killer, 1987 II, 1986 A Better Tomorrow, 1985 Liang zhi lao hu, PETER PAU (1952, ) won a Best Cinematography 1981 Hua ji shi dai (as Wu Hsiang-fei), 1979 Last Hurrah for Oscar for Crouching Tiger, Hidden Dragon (2000). He was Chivalry, 1976 Shao Lin men (as Wu Yu Sheng), and 1976 Dinü cinematographer for 40 other films, some of which are 2011 hua (as Yusen Wu). Lee's Adventure, 2010 Confucius, 2008 , 2007 Shoot 'Em Up, 2005 The Promise, 2005 Perhaps Love, HARK TSUI (b. Tsui Man-Kong, February 15, 1950, Saigon, 2002 The Touch, 2001 Rocks, 2000 Dracula 2000, 2000 (now , Vietnam) has produced 59 And I Hate You So, 2000 Crouching Tiger, Hidden Dragon, 1998 titles, some of which are 2011 The Flying Swords of Dragon Bride of Chucky, 1997 Warriors of Virtue, 1997 Double Team, Gate, 2010 Detective Dee and the Mystery of the Phantom 1994 National Treasure, 1993 The Bride with White Hair, 1993 Flame, 2008 (as Tsui Hark), 2008 Missing (as The Eagle Shooting Heroes, 1991 To Be Number One, 1991 Au Tsui Hark), 2005 , 2004 Sandaô, 2003 The Era of revoir mon amour, 1990 The Swordsman, 1989 The Killer (as Vampires, 2001 Old Master Q 2001, 2000 Time and Tide, 1997 Peter Pao), 1987 The Legend of Wisely, and 1986 Tian mi shi liu Once Upon a Time in China and America (as Tsui Hark), 1996 sui. Black Mask (as Tsui Hark), 1996 “Once Upon a Time in China”, 1995 The Blade, 1994 Once Upon a Time in China V, 1994 WING-HUNG WONG has 51 director of photography credits, in Hell, 1993 Ching Se, 1993 Iron Monkey, among them 2011 All's Well Ends Well 2011, 2010 Reign of 1993 Once Upon a Time in China IV, 1993 Once Upon a Time in Assassins, 2009 Poker King, 2008 La lingerie, 2007 Brotherhood China III, 1992 The Master, 1992 Once Upon a Time in China II, of Legio, 2005 The Myth, 2004 Love on the Rocks (as Horace Woo—THE KILLER—2

Wong), 2002 Black Mask 2: City of Masks (as Horrace Wong Wing Hang), 2001 The Accidental Spy, 1999 King of Comedy, KONG CHU… Fung Sei (as Chu Kong) has appeared in 28 1997 Armageddon (as Horace Wong), 1995 Thunderbolt, 1993 films, some of which are 1994 Yu long gong wu, 1993 The The Mad Monk, 1992 Hard Boiled, 1990 Bullet in the Head, Legend, 1991 Once a Thief, 1989 The Killer, 1988 The Big Heat, 1990 A Moment of Romance, 1989 The Killer (as Wong Wing and 1971 Magic Swords. Hang), 1987 A Better Tomorrow II, and 1986 A Better Tomorrow. KENNETH TSANG… Sgt. Tsang Yeh (as Tsang Kong) (1938, Hong Kong) has appears in 155 films, among them 2011 YUN-FAT CHOW…Ah Jong (as Chow Yun Fat) (b. Chow Yun Supercapitalist (completed), 2011 Eat Drink Man Woman: So Fat, May 18, 1955, Lamma Island, Hong Kong) has appeared in Far, Yet So Close, 2011 Starry Starry Night, 2011 Inseparable, 106 films, some of which are 2012 The (post- 2011 , 2011 My Wedding and Other Secrets, 2010 production), 2010 Let the Bullets Fly, 2010 Confucius, 2008 The East Wind Rain, 2009 The Treasure Hunter, 2009 Prince of Children of Huang Shi, 2006 The Postmodern Life of My Aunt, Tears, 2009 Formosa Betrayed, 2009/II Motherland, 2007-2008 2004 Waiting Alone, 2003 Bulletproof Monk, 2000 Crouching “Parental Guidance” (15 episodes), 2008 Dunk, 2007 Tiger, Hidden Dragon, 1999 Anna and the King, 1999 The The Drummer, 2007/II “Relentless Justice”, 2006 The Tokyo Corruptor, 1998 , 1994 National Trial, 2005 Memoirs of a Geisha, 2004 Butterfly, 2002 Die Treasure, 1992 , 1992 Hard Boiled, 1991 Once a Another Day, 2002 The Touch, 2001 Funeral March, 2001 Rush Thief, 1989 , 1989 The Killer, 1989 All About Hour 2, 2000 Killer, 1999 Anna and the King, 1998 Another Ah-Long, 1988 The Eighth Happiness, 1987 A Better Tomorrow Meltdown, 1998 The Replacement Killers, 1997 Up for the II, 1987 , 1987 City on Fire, 1987 Code of Rising Sun, 1992 , 1992 Second to None, 1991 To Be Honour, 1986 A Better Tomorrow, 1986 100 Ways to Murder Number One, 1991 Au revoir mon amour, 1991 Once a Thief, Your Wife, 1984 Dang doi lai ming, 1983 Blood Money, 1981 1990 Shadow of China, 1990 Cuo zai xin xiu, 1989 The Killer, God of Killers, 1977 Bed for Day, and Bed for Night. 1987 A Better Tomorrow II, 1987 Amnesty Decree, 1986 , 1986 A Better Tomorrow, 1986 In the Line of Duty, 1982 Cop Killer, 1976 The Eternal Obsession, 1975 The Brave and the Evil, 1973 The Money-Tree (as Tsang Kong), 1973 Village on Fire, 1969 Bloody Handkerchief, 1969 Sky Dragon Castle, 1968 The Deadly Dragon Sword, 1968 The Tin Long Gang, and 1955 Tong lin niao.

FUI-ON SHING… Wong Hoi (as Shing Fui On) (February 1, 1955, Hong Kong—August 27, 2009, Hong Kong, China) appeared in 180 films, some of which are 2008 Bodyguard: A New Beginning, 2007 The Detective, 2005 Himalaya Singh, 2004 Brothers, 2003 A Mysterious Murder, 1998 Troublesome Night 3, 1995 Thunderbolt, 1995 The Saint of Gamblers, 1993 The Eight Immortals Restaurant: The Untold Story, 1992 , 1991 1991, 1991 Legend of the Dragon, DANNY LEE…Insp. Li Ying / Little Eagle (b. Sau-Yin Lee, 1991 Brains, 1990 When Fortune Smiles, 1989 China August 6, 1952, , China) has 125 acing credits, some of White, 1989 The Killer, 1989 Ji ji, 1988 Ghost in the House, which are 2010 Crossing Hennessy, 2009 Red River, 2008 Fatal 1988 Tiger on Beat, 1988 Dragons Forever, 1986 A Better Move, 2002 Shark Busters, 1999 The Untold Story III, 1997 Tomorrow, 1986 100 Ways to Murder Your Wife, 1975 Gambling Final Justice, 1990 Lao hu chu geng II, 1989 The Killer, 1989 for Head, and 1973 Ma lu xiao ying xiong. Mad Mission V: The Terracotta Hit, 1987 City on Fire, 1987 Code of Honour, 1984 Shanghai 13, 1982 Brave Archer 4, 1982 From John Woo Interviews. Edited by Robert K. Elder. Ninja, the Violent Sorceror, 1981 One Way Only, 1981 Murderer University of Mississippi Press, Jackson, 2005. “The Killer: Pursues, 1981 Gambler's Delight, 1981 The Great Cheat, 1979 Criterion Commentary Track Interviews Excerpts” David The Brothers, 1979 The Eight Escorts, 1976 Erotic Nights (as Li Chute, Mark Rancem et al. / 1994 Hsiu-hsien), 1976 Killer Clans, 1975 All Men Are Brothers, 1975 The Gambling Syndicate, 1974 , 1974 The DAVID CHUTE: The killer—is he a good man, or is he a man Teahouse (as Li Hsiu-hsien), 1973 The Iron Bodyguard, 1973 who wants to be good? Blood Brothers, 1972 The Water Margin, and 1971 The Deadly JOHN WOO: He wants to be good. That’s why at the Duo. beginning, I put church. In childhood, I always liked to sit in the church; I liked calm and peace and I liked to have time and a SALLY YEH…Jennie (September 30, 1961) has appeared in 25 place for thinking to myself. films, some of which are 2003 Love Under the Sun, 1991 Sha So, for the killer, he wanted to be good and he was fed Sha Jia Jia zhan qi lai, 1989 The Killer, 1989 Jiang shi da nao xi up with killing and he’s trying to stop, but the problem for the men ding, 1988 , 1986 Mad Mission 4: You Never killer is that once you pick up a , it’s hard to put down. So, Die Twice, 1986 Peking Opera Blues, 1985 The Protector, 1982 it's a matter of honor. So, he is also like me, sitting in a church Golden Queen's Commando, and 1980 Yi gen huo chai. and thinking, thinking of his destiny….Friendship is the only Woo—THE KILLER—3 thing he’s got, so he tried to quit, and he’s fed up with the killing already. But he’d like to do the last job for a friend. He believes DC: …some of the things that you’re talking about are ways in friends. of taking what’s inside the character and making it visible. JW: Usually, whatever I do, I never think about the DC: Why does he go to the club? audience. The first thing I think of is the character, the actor and JW: Since he wounded [the singer], the killer feels guilty, myself—how we feel. and in a way he tries to help her and tries to repay [her for ] what For example, when…[Chow Yun-Fat’s character] is he did. So he always watched her silently…just trying to do betrayed by a friend. We usually talk before the shooting, and I something for the girl. ask him “Did you have any similar experience, or do you have any friends just like that?” Usually he will figure out and pick up DC: This is a very important scene. some memory about his same experience. So it make his acting JW: Yeah, this scene, when the killer is looking at a picture look very real and touching, because it was real. That’s how I of the way she was before. So when he work with actors….So, usually when looks at the picture and he realizes before [Chow Yun-Fat and I] work the girl got blind she was so full of life together, we always put our input, and beauty, so when he looks at the our real feeling into the character. picture, he feels more guilty about So, what I mean is that when you it…like he ruined her life. So, he feels see Chow Yun-Fat, you see me. I more pain, because the kille has his own always like to put myself into his principles. He only kills the bad guy and character. never harms the good guy. Maybe the …The Killer [is about] idea came from pictures all over the room trying to find out if there is and all over the living room, especially something in common between my wife, you know, she likes to put her people. Also, I was fascinated by a picture in the bedroom. She wants me to Japanese movie in the ‘60s. I forgot look at her [all the] time. the name, [Law Kar says it’s a Teruo Ishii movie called Dip Hueh Shuan DC: There was something interesting Hung in —ed.] but the that you said bout the way Catholicism star was and the was portrayed in Scorsese’s films, like movie was shot in Hong Kong and Mean Streets. , and was also about a killer JW: I admire Martin Scorsese so who killed only the bad people—the much, and also am influenced by him so killer has principles, and he only much-especially Mean Streets. I really kills the bad guys, never kills a good love that movie. So, in his movie, they guy. But since he took a job and kept in the church, so it made me use the goes to Hong Kong and was set up Catholic Church in my movie. by the Hong Kong gang and the I learned from his powerful Japanese gang, the person who he technique and also learned from his dramatic . Now, killed was a good guy. So, he regrets that he was used by the the way he uses slow motion—he likes to use [slow] motion to gang. And in the meantime, there is a Japanese cop who tracks capture some beautiful moment in the acting, or he likes to him down to Hong Kong and tries to arrest him. capture some expression from the actors. It makes it look so And so, the killer tries to take the revenge, and find out beautiful and dramatic, so I use it in my frame. who set him up to get revenge to the whole gang. When he is I also use slow motion on actors, not only on the action. wandering in Macau, he met a Japanese girl, and she’s a whore. The action is from , and also the camera The girl tries to go back to Japan but she is so sick with movement—my camera movement is also influenced by him….I tuberculosis and her dream is to go back to Japan. So the killer also learned from [François] Truffaut’s movies. He was the first helps her, and asks her to wait until he fights the gang. He asks one who used freeze frame on film for an emotional touch. There the girl to wait for him in the dark. So Ken Takakura goes to is a scene of Jeanne Moreau, she turns and looks at Oscar Werner fight the gang and he gets killed. The Japanese girl is still waiting [in Jules et Jim], and he freezes…on her smile. It was an in the dark and the hero never comes. This movie I love very unforgettable technique to make scenes more romantic. I never much, and it gave me the spirit to make The Killer. forgot and I try to use it in my movies. Even though I learned [filmmaking] by myself, I also DC: Did the book Chronicle of an Assassin that you read learned film theory from all the masters. But usually I don’t care when you were younger have a direct influence on the movie? about a theory, and don’t care about the traditional way of JW: How did you know? In general I like the story about the making film. Usually I will do whatever I want. And I do assassins. Especially in the ancient time of China, there were four whatever I feel. When I do the editing, suddenly I feel—in this very famous assassins. They have a great story, and it is the moment or this scene I would like to use the dissolve or the character of the killer. You can say that the character of The overlap in and emotional way. But when the audience sees the Killer and A Better Tomorrow are all based on the ancient dissolve in the film, [they think] it means flashback. Woo—THE KILLER—4

Chinese assassin story. The movie, The Last Hurrah for acting in more detail. It looks more like a sculpture-you can think Chivalry, was influenced by my master, . and you can feel more from their faces. [Dragon Boat scene] JW: This is my favorite scene in the whole movie. I tried to DC: We wanted very much to have you talk about violence, use that dragon boat race as a metaphor for the cop and the killer. about how…much is too much? For every movie I make, I always like to make a classic or JW: I’ve never taken violence seriously in my films. All I’m unforgettable scene….And for The Killer, I also try to make a concerned with is that when I’m making violent scenes, is that it dramatic and powerful killing scene. I wanted to make the has to be based on emotion, not based on how to please the dragon boat scene a classic, like the final scene of Day of the audience or try to make someone happy. The most important Jackal, when the killer kills the thing is to try to make me French priest—just like that. happy, because when I’m So this scene: we shot shooting the action scenes, I feel documentary [footage for] five very excited, it’s the most months before we started exciting moment in my work. shooting. And then we rebuilt So, I feel so much joy when I the same set to do the real was shooting the action scenes. scene. Wec had a lot of footage. All I thought about was how to The editor had trouble cutting it, make the action look—this is a and he didn’t know how to cut it very silly thing—romantic and and the editor was not used to beautiful. cutting scenes with other shots, Usually I don't think of with other storyboards, and he how the audience feels. The got no idea how to cut this scene most important thing is how I well. So I cut it for myself and used three weeks to cut the scene. feel. Sometimes I use violence to send some message, because For the idea for the dragon boat I wanted, I tried to use the when I was a child, I saw so much violence, so many people got dragon boat race to symbolize the killer and the cop—the killed, especially in 1967. There were two big riots in Hong competition between them is like a sport. Kong. A lot of people got killed in front of my door. So actually I hate violence. I’m a peace-lover, and I hate MARK RANCE: What does the cop have in common with the war. I hate to see people killing each other. I wonder if violence killer? sends a message, that violence has got to stop. If it cannot stop, JW: Even though they’re enemies, we need some kind of hero to stop it…the they respect the same thing from each hero sacrifices his life for honor, chivalry, other. For example, this cop has and sometimes for sympathy. It's a very feeling—usually the cop has no Chinese tradition. feeling, [or] usually the cop doesn’t I’m not romanticizing the express feeling, and the cop feels the violence…I romanticize the hero. same way toward the killer because the When I shoot a movie or decide anything, killer usually has no feeling. So they I usually don’t think about the result. I recognize this in each other. That’s the just do whatever I feel. For example, idea for the scene. when I shot A Better Tomorrow, I just wanted to put ’s image on DC: Can you talk about how that Chow Yun-Fat, so I made Chow Yun-Fat was supposed to work in the movie…? wear the long coat with the sunglasses to JW: The original idea for The look very ‘60s. Killer was a triangle love story. The But somehow his character and killer and the cop both fall in love with the movie became so popular; everybody the singer. For some scenes, for imitated him. The young audience example, the killer was with the girl or the girl with the cop, and imitated him, they learned to dress like him and also learned his I wanted to shoot it at the same angle, and put them in the same behavior. I didn’t realize that before. The people take the position and almost use the same line and camera movements, impression of my movie and turn to love the violence, and some the same cutting, just try to show them have the same feeling….I people misunderstood. I tried not to glorify the [Hong love big close-ups. Kong mafia—ed.]. I really didn't intend that. When I make a gangster movie, it is just like making a Chinese swordplay DC: Where does that come from? Some people say Sergio [movie]. All I intended was to glorify the hero, the behavior of Leone. the hero, not the Triad society. I admit the filmmaker sometimes JW: No, no. It's maybe about my hobbies. No matter where I has to be concerned about the moral standard…but for me, I am, I love watching people’s faces. Even walking on the street, I make the film as an artist, and juts make the film. always love to watch the different faces. I want to know their feeling….I want to create an intimate relationship between the audience and the actors, and the big close-ups can show them Woo—THE KILLER—5

DC: I think this scene coming up is the most popular…[the group, and also for the camera group. Everybody, everybody was killer and the cop point guns at one another in Woo’s trademark having a hard time, especially the stunt group. style—ed.]. JW: When I was a child, I was so fascinated with the DC: Was there some disagreement about how this final scene cartoon—I love it very much, and this scene was actually should be shot? inspired by Spy vs. Spy, the comic from Mad magazine. The JW: That’s interesting. The other reason I used the church white bird and the black bird are always against each other, but was to represent the fate of human beings. I tried to use the deep in their heart, they are still friendly, church to represent a feeling of destiny. and the idea came from that. The killer, when he is shot, he is blinded. Since I wanted to make the cop Even though he had a good heart, he still and the killer friends, I used the idea for cannot avoid fate. So he lost everything, the end of the scene, so when they pointed even though he got love. When we were the guns at each other, the blind girl is in shooting this scene, Chow Yun-Fat had a between them. It's the only scene I showed suggestion. He said he and Jennie [actress both men, the killer and the cop. They both Sally Yeh—ed.] should go out together and love the girl, so when they use the guns to meet, touch each other and hold hands very point at each other, they don’t want to hurt tight, and then die. I didn’t agree. I said, the girl. So they pretend they are longtime how about we make it more tragic, let both friends….and they don’t want the girl to of them crawl together and pass, and miss have hard feelings. And just like Spy vs. each other. It will make it more tragic, let Spy, they both have good hearts, even both of them, crawl together and pass, and though they are against each other. miss each other. It will make it more tragic, I always believe people in the and more like they have been played by world can get along together, even though fate. we are from different countries, different races. I’m sure everyone has some good in MR: They’ve been tricked by fate? their hearts. Even though we are enemies, JW: Yeah, they’ve been tricked by we can live and work together peacefully fate. That’s why they miss each other. And and appreciate each other. This is always Chow Yun-Fat agreed, so we made the my dream, so that’s why I like to use two scene more sad and dramatic….so the cop extremely different characters and put did the last favor for the killer. He killed them together to emphasize the nature in human beings, and also the bad guy for him, but by the law, he turns into a criminal. He’s to try to make it funny. So this scene is not so serious. also tricked by fate. So all he has is the memory of a good friend. That’s why at the end, I put Chow Yun-Fat playing the MR: An obvious question would be, why a gun battle in harmonica as the end shot. church? JW: Good question. A lot of people wonder why I used a DC: His friend is thinking about him? church for a gun battle scene, especially for the final fight. In the JW: Yeah, his friend is thinking about him. The original idea beginning, the killer is sitting in the church. I wanted to say that for the ending is after the killing, Jennie goes to the airport again, God is welcoming, no matter if it’s a good man or a bad man, alone, to try to get aboard. When she is just waiting for help, everyone is welcome. When a gun battle is in a church, I just use Danny Lee suddenly appears, brings the money, and goes to the it to say the war in between people and evil, they always turn with her, then tries to help cure her eyes. It’s more heaven to hell. It's just like . like a happy ending. But since I overscheduled too much, and When you see the statue of the Virgin Mary being Jennie’s schedule was too short, we canceled the scene….We put blown up, it means the people ruined all the beauty, loveliness Chow Yun-Fat’s shot as the end shot, and [it] also got [across] and holiness. To me, the Virgin Mary represents peace and love, the other meaning of an unforgettable friendship. the truth and beauty, and the love from God….[When the Virgin Mary blows up], it makes me feel more sad. So that’s why I used MR: So in the end, death wins over the criminal, and law the church for the gun battle scene. wins over the cop. …Since I wanted to make it like the good against evil, I JW: It’s a little pessimistic. That’s the world we live in. made the gun battle big, like a war was going on. Everything has been damaged and destroyed, including the truth…. David Chute: The Killer (Criterion notes) The Killer is one of the most passionate and exhilarating gangster MR: Did it take longer to shoot this scene—was this scene movies ever made. Written and directed by Hong Kong bigger than all the other scenes? filmmaker John Woo, the film is the propulsive account of a JW: Well, this scene, including the exterior and interior, took super-cool Hong Kong hitman’s final assignment, after he seals twenty-eight days to shoot. It's a different location, a different his own fate with an unexpected spasm of remorse. Borrowing set. Between inside and outside it did take a long time to shoot inspiration from doom-laden French crime movies like Jean- the scene. Because every thing is a new experiment—everything Pierre Melville’s Le samouraï and ancient Chinese chronicles of was a new experience for the stunt group, for the special effect patriotic assassins, the film is a passionate cinematic upheaval. Woo—THE KILLER—6

To some aesthetic puritans, John Woo’s crime movies like arias, releasing the tension that has been accumulating in the pile on a bit too much of everything: They are too violent, too “recitative” passages of dialog. John Woo takes violence out of melodramatic, altogether too emotionally unselfconscious. But in the realm of spectacle and turns it back into a tragically self- fact, Woo’s gangster films are fascinating precisely because they defeating human activity, committed by fully fleshed-out are such multifaceted hybrids. They refract familiar pop characters for reasons that make sense—at least to them. cultural elements through Woo’s clearest an Eastern lens, and the explication of his tough- most debased conventions minded world view may come back looking fresh, be his harrowing epic of reimagined, “made the , Bullet strange.” in the Head. But even his While The Killer early swordplay picture, is aggressively violent, Last Hurrah for Chivalry, there is an undercurrent of is set in a corrupt pure sensuous enjoyment medieval Chinese milieu in the images of death by in which absolutely gunfire, as scores of everything has a price tag. perforated mobsters expire “But I paid 1,000 taels of in languorous slow gold for her!” gasps a rich motion. “Life’s cheap,” a landlord, after being cop in the movie suggests. “It only takes one bullet.” But in skewered by his demure new bride, a former prostitute. “Yes,” practice, it always takes about a dozen geysering bullet hits to sneers his enemy, “but I paid her 2,000 taels for killing you. kill anybody here, as grim Triads in mirrored shades and duster Once a whore, always a whore.” overcoats blaze away with high-tech weaponry. The Killer is about two men who become friends Despite his sanguinary reputation, John Woo wasn’t because they both want to stop being whores, to live lives that born as a filmmaker with a 9mm Beretta in his hand. Throughout don’t constantly grate against their sensibilities and their values. the 1970s and early he was an increasingly frustrated While the movie suggests that this may not be possible anymore, comedy director. In 1986, his first gunplay film, the disarmingly at least not for these two, the attempt itself is portrayed with romantic and heartfelt A Better Tomorrow, became the biggest great respect. Finally, in the world according to John Woo, box-office hit in Hong Kong movie history, and its gifted leading everyone you meet is potentially either your assassin or your best man, Chow Yun-fat, became Hong Kong’s top box-office friend . . . if not both. attraction. Over the next few years, hundreds of Better Tomorrow carbon copies were cranked out, mob movies with English titles (Wikipedia) like Brotherhood, Born Brothers, Sworn Brothers, and even Hong Kong action cinema is the principal source of the Hong Flaming Brothers. Kong film industry's global fame. It combines elements from the The Killer appeared in 1989, summing up, and topping, , as codified by Hollywood, with Chinese storytelling the entire gangster-gunplay cycle. The plot is ripeness itself: A and aesthetic traditions, to create a culturally distinctive form that warbling torch singer named Jenny (Sally Yeh) is accidentally nevertheless has a wide transcultural appeal. In recent years, the blinded during a slaying in a night club, and Chow’s character, a flow has reversed somewhat, with American and European world-weary ace assassin (he is renamed “John” in the English action films being heavily influenced by Hong Kong genre subtitles) drags himself out of retirement to take on a final conventions. assignment so that he can buy her a new set of corneas. The first Hong Kong action films favoured the The blinded singer and the killer develop a wan style, emphasizing mysticism and swordplay, but this trend was affection for each other, but the most intense relationship by far politically suppressed in the 1930s and replaced by styles in is the brotherhood that develops between the killer and the which films depicted more down-to-earth unarmed kung fu, often idealistic cop (Danny Lee) who has sworn to bring him down. featuring folk hero Wong Fei Hung. Post-war cultural upheavals Although a relatively conventional strong-and-silent action hero, led to a second wave of wuxia films with highly acrobatic Lee brings an unusual feeling to the role. Empathizing with violence, followed by the emergence of the grittier kung fu films John’s yearning for a better life, the upright policeman for which the became best known. The recognizes himself in the killer. When the cop elects to set his 1970s saw the rise and sudden death of international superstar worldly duty aside temporarily to stand shoulder to shoulder with . He was succeeded in the 1980s by —who his new soul brother against the armies of the night, John can popularised the use of comedy, dangerous stunts, and modern only shake his head over the irony: “The only person who really urban settings in action films—and , whose authentic knows me turns out to be a cop!” skills appealed to both eastern and western audiences. The Many of the outsized gestures in Woo’s films, the innovative work of directors and producers like Tsui Hark and unrestrained bold strokes of emotion melodrama, are a tough sell John Woo introduced further variety (for example, gunplay, to fans of American-style action films, which nowadays are as triads and the supernatural). An exodus by many leading figures coolly brutal as possible. But if Sam Peckinpah’s most to Hollywood in the 1990s coincided with a downturn in the characteristic sequences are blood ballets, then surely Woo’s are industry…. Chinese blood operas. The interludes of rapturous slaughter are Woo—THE KILLER—7

Building on the reduced but enduring kung fu movie probable" that triad organizations either took after or were subculture, Jackie Chan and films like Tsui Hark's Peking Opera originally part of the revolutionary movement called the White Blues (1986) were already building a cult following when Woo's Lotus Society. The Killer (1989) had a limited but successful release in the U.S. When the came to power in and opened the floodgates. In the '90s, Westerners with an eye on 1949 in , law enforcement became stricter and "alternative" culture became common sights in video tough governmental crackdown on criminal organizations forced shops and theaters, and gradually the films became more the triads to migrate to Hong Kong, then a British colony. It was available in the mainstream video market and even occasionally estimated that in the 1950s, there were about 300,000 triad in mainstream theaters. members in Hong Kong. Western critics and film Academics at the University scholars also began to take of Hong Kong say that most Hong Kong action cinema triad societies were seriously and made many established between 1914 key figures and films part and 1939, and that there of their canon of world were once more than 300 in cinema. the territory. Since then the From here, Hong number of such groups has Kong came to define a new consolidated to around 50, vocabulary for worldwide of which 14 are still action cinema, with the aid regularly in the eye of of a new generation of police. By 1951, there were North American nine main triads operating in filmmakers. Quentin Hong Kong and they had Tarantino's Reservoir Dogs (1992) drew inspiration from City on divided the land according to their ethnic groups and Fire and his two-part Kill Bill (2003–04) was in large part a geographical locations, with each triad in charge of a region. The homage, borrowing Yuen Woo-Ping as fight nine triads were Wo Hop To, , Rung, Tung, Chuen, choreographer and actor. Robert Rodriguez's Desperado (1995) Shing, , and Luen. Each of them had its own and its 2003 sequel Once Upon a Time in Mexico aped Woo's headquarters, its sub-societies and public fronts. After the 1956 visual mannerisms. The Wachowski brothers' trilogy riots, the Hong Kong government introduced stricter law (1999–2003) of science-fiction-action blockbusters borrowed enforcement and triads became less active. from Woo and movies and also employed Yuen behind Triads currently engage in a variety of crimes from the scenes. Martin Scorsese's The Departed (2006) was a remake extortion and money laundering to trafficking and prostitution. of the trilogy (2002–2003) by and They also are involved in smuggling and counterfeiting goods . such as music, video, and software as well as more tangible goods such as clothes, watches, and money. Triad (Wikipedia) Triads have been engaging in counterfeiting since the Triad is a term used to describe many branches of Chinese 1880s. Between the 1960s and 1970s, triads were involved in criminal organizations based in Hong Kong, Vietnam, Macau, counterfeiting Chinese currency, often of the Hong Kong 50-cent , China, and also in countries with significant Chinese piece. In the same decade, the gangs were also involved in populations, such as , , the United States, copying books, usually expensive ones, and selling them in the Canada, , New Zealand and the United Kingdom. The black market. With the advent of new technology and the Chinese triads are one of the world's largest criminal improvement of the average person's standard of living, triads organizations, encompassing other criminal organizations with a have progressed to producing counterfeit goods such as watches, steady membership of around 1.5 million in mainland China film VCDs / and designer apparel such as clothing and alone and 2.5 million members worldwide. handbags. Since the 1970s, triad turf control was weakened and The earliest triads started as resistance/rebel forces who some triads shifted their revenue streams to underground as well opposed Manchu rule in China during the , as the as legitimate businesses. Manchu ethnic group were regarded as foreign invaders in the Triads use numeric codes to distinguish between ranks predominant Han Chinese society of China then. In the 1760s, and positions within the gang; the numbers are inspired by the Heaven and Earth Society (天地會) was founded, with its Chinese numerology based on the I Ching. "489" refers to the "mountain" or "dragon" master (or 'dragonhead'), while 438 is objective to overthrow the Qing Dynasty and restore Han used for the "deputy mountain master". "426" refers to a Chinese rule in China. As the society's influence spread "military commander", also known as a "Red Pole", overseeing throughout China, it branched into several smaller groups with defensive and offensive operations, while "49" denotes the different names, one of which was the Three Harmonies Society position of "soldier" or rank-and-file member. The "white paper (三合會). These societies adopted the triangle as their emblem, fan" (415) provides financial and business advice, and the "straw usually accompanied by decorative images of swords or portraits sandal" (432) functions as a liaison between different units.[8][9] of Guan Yu. The term "triad" was first coined by British "25" refers to an undercover law enforcement agent or spy from authorities in colonial Hong Kong, as a reference to the triads' another triad, and has become popularly used in Hong Kong as a use of triangular imagery.[1] While never proven, it is "highly slang for "informant". Woo—THE KILLER—8

Compared with other triad societies, the 14K is one of the largest and most violent Hong Kong based triad societies, and its members appear to be more loosely connected. 14K factional violence is actually out of control because no dragonhead is able to govern all factions of 14K worldwide. While Hong Kong's 14K triad gang dominates its traditional areas of operation and has expanded far beyond the former British colony, its focus remains Sino-centric. Hong Kong triads, including the 14K, have also expanded their activities in mainland China; a key motivation for members to cross into China is to avoid police security and anti-gang crackdowns in Hong Kong. During the 1990s, it was the "largest Triad in the world". In 1997, there were a number of gang-related attacks that left 14 people dead. Under Wan Kuok-koi (nicknamed "Broken The 14K Triad (from Wikipedia) Tooth Koi", 崩牙駒), the 14K was being challenged by the The 14K (十四K) is a Triad group based in Hong Kong but smaller Shui Fong Triad. The next year, a gunman believed to be active internationally. It is the second largest Triad group in the connected to the local 14K killed a Portuguese national and world with around 20,000 members split into thirty subgroups. wounded another at a sidewalk café in Macau. In 1999, a They are the main rival of the Sun Yee On, which is the largest Portuguese court convicted 45-year-old mob boss Broken Tooth Triad. The 14K are responsible for large-scale drug trafficking Koi on various criminal charges and sentenced him to 15 years around the world, most of it heroin and opium from China or imprisonment. His 14K gang was suspected of drive-by Southeast Asia. This is their primary business in terms of shootings, car bombings and attempted assassinations. Seven of generating income, but they are also involved in illegal his associates received lesser sentences. Since the crackdown in gambling, money laundering, arms trafficking, prostitution, Macau, the 14K triad resurfaced in North American cities such as people smuggling, extortion, counterfeiting and, to a lesser , San Francisco and Chicago in the United States and extent, home invasion robberies. , Calgary and Toronto in Canada, and also Sydney The 14K was formed by Kuomintang Lieutenant- Australia. In response to the massive publicity generated by General Kot Siu-wong in Guangzhou, China in 1945 as an anti- Broken Tooth Koi, the 14K dramatically lowered its public Communist action group. However, they relocated to Hong Kong profile. Meanwhile, loan sharking and money laundering in 1949 when the Kuomintang fled from the Communists continue to be the primary sources of revenue for the 14K in following the . Originally there were fourteen North America. members who were part of the Kuomintang, hence the name 14K. However, some say that 14 stands for the road number of a former headquarters and K stands for Kowloon.

FOUR MORE IN THE SPRING 2012 BUFFALO FILM SEMINARS XXIV Apr 3 Krzysztof Kieslowki, Kieslowski, Red 1994 Apr 10 Terrence Malick, Thin Red Line 1998 Apr 17 Fernando Meirelles, City of God, 2003 Apr 24 , The Dark Knight 2008

CONTACTS: ...email Diane Christian: [email protected]…email Bruce Jackson [email protected] ….for the series schedule, annotations, links, handouts (in color) and updates: http://buffalofilmseminars.com ...to subscribe to the weekly email informational notes, send either of us an email with add to BFS list in the subject line.

The Buffalo Film Seminars are presented by the Market Arcade Film & Arts Center and State University of New York at Buffalo With support from the Robert and Patricia Colby Foundation and the Buffalo News

Color versions of the Goldenrod Handouts are online at the BFS website.

MIDNIGHT BEACON: A FILM SERIES FOR THE SENSES Friday Midnights February 10th—April 13th Market Arcade Film and Arts Centre Gen. $9/ Students $7/ Seniors $6.50 Contact: Jake Mikler (716)668-6095 [email protected] March 30- Radio on (Chris Petit, 1980) April 6 Seconds- (John Frankenheimer, 1966) April 13- The Face of Another (Hiroshi Teshigahara, 1966)