Hong Kong Hollywood

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Hong Kong Hollywood HARD TARGET H ong Kong i H ollyw ood M ed udgangspunkt i John det spektakulære er så tilpas lidt Østens Sergio Leone verbale, at de kan trodse sprogbarri­ 'Østens Sergio Leone' er John Woo Woo filmen H ard Target eren og eksporteres bredt - men blevet kaldt, og selvom de to in­ kigger vi lidt på filmisk som til gengæld er så konventionali- struktører ikke ligner hinanden i kulturudveksling. serede, at de for det meste kun når hverken stil eller temaer, så er sam­ ud til et smalt og ultraspecialiseret menligningen ganske rammende. publikum. John Woos episke actionfilm - film Efter 20 år (han debuterede som som A Better Tomorrow 1 og 2 (86 og af Flemming Kasper sen instruktør i 1973 hos det legendari­ 87), The Killer (89) og Hardboiled ske Golden Harvest produktionssel­ (91 - vist på den danske Natfilmfe­ skab) og lige så mange film er John stival i februar i år) - tager ærkeame- ctioninstruktøren John Woo er Woo nu ubetinget Hong Kongs mest rikanske genrer og mimer konven­ A Hong Kong-filmens største eks­ kendte filmmager - navnef at nævne tionerne som ren overflade, fravrister portnavn siden Bruce Lee, hvis lille når talen falder på hip action. Ikke billederne enhver dybere social og håndfulde kung fu-film fra starten af mindst takket være kometen Quen- historisk resonans. Som en hyperki- 70’erne for længst har opnået klassi- tin Tarantino, der imiterer Woo i nesisk Jean-Pierre Melville (eller en kerstatus. Hong Kongs filmindustri Håndlangerne, lader sin hovedperson mindre beskidt Leone) lader han er blevet berømt for sin store pro­ se en konstant strøm af Woo-film på sine film blive til parader af referen­ duktion af kung fu-, action- og fan- sin video i True Romance, og som har cer vredet igennem et helt fremmed tasyfilm: udprægede genrefilm, som skrevet et manuskript som Woo skal perspektiv. Tag f.eks. The Killer. hi­ med deres fokus på det fysiske og instruere. storien om en ærefuld lejemorder, 8 Jean-Claude Van Damme tilhører Pfarrer, en tidligere soldat i elite­ Hollywoods B-hold af actionstjerner. korpset Navy SEALS) er meget tra­ Hans film er succesfulde, men ap­ ditionelt, og rummer ikke plads til pellerer overvejende til genrens faste de corny, melodramatiske dybder publikum, og han har Arnold som giver Woos tidligere film deres Schwarzeneggers sproglige og sku­ særlige tone - væk er den tænder­ espilmæssige svagheder, men uden skærende sentimentalitet, der til ti­ hans charme og kommercielle tæft. der får Woos Hong Kong-film til at Til gengæld er hans kampteknik gå næsten i stå, men som modsat gi­ gennemført elegant, sine steder lige­ ver filmene en campet poesi og får frem inspireret, og hans fysik er voldsorgierne til at virke så meget mere yndefuld end oppumpet - alt­ mere brutale. Og også i volden er sammen noget der passer fint til der skåret hjørner. Den amerikanske John Woos visuelt polerede, ordfat­ censurmyndighed MPAA gav oprin­ tige stil, og instruktørens baggrund i deligt filmen en NC-17 rating, som martial arts-genren. er ensbetydende med at det ville Hard Target er bare langtfra nogen blive så godt som umuligt for Hard perfekt actionfilm. Fortællingen Target at nå ud til et stort publikum. hænger sammen, og actionscenerne Universal, der har produceret fil­ Side 8 samt herover: Jean-Claude Van fungerer. Skuddene og eksplosio­ men, krævede den mildere R-rating Damme i Hard Target. nerne og nærkampene er der, lige­ - og rygtet vil vide, at også den me­ som Woos evigt bevægelige, lavt get ambitiøse Van Damme pressede krybende vidvinkelkamera og hans instruktøren for at sikre sig et kom­ der kommer til at blinde en ung pige melodramiske brug af slow motion - mercielt hit. Syv gange måtte Woo og derefter sætter sig for at lave et men den rå adrenalin man finder i tilbage til MPAA, før de gav filmen sidste job for at få penge til at betale film som The Killer og Hardboiled, den ønskede R-rating, og selvom fil­ den operation, der kan give hende fornemmelsen af totalt svimlende men er meget voldelig, så er der synet tilbage. Den blander det dri­ delirium når skudkampene forvand­ langt til Woos tidligere excesser. In­ vende sentimentale (handlingen les til abstrakte, sugende voldsballet­ teressant nok har hans kamp med minder meget om Douglas Sirks ter, mærkes kun glimtvis. Og proble­ censuren i et Hollywood, der mere Magnificent Obsession1) med den met hedder Hollywood; een ting er end nogensinde er på vagt overfor mest kyniske, meningsløse ultravold at mime overflader og stilistiske filmvolden, fundet sted samtidig (filmens ildkampe ligner slutningen konventioner, noget andet er at blive med at Hollywood er gået i gang på Den vilde bande ganget med ti!). en del af hele det system der produ­ med en genindspilning af The Killer! Disse konstante skift i tone kunne cerer disse konventioner. Hard Target er lavet af en tæmmet ende med at virke totalt fremmed- John Woo. Men i tilstrækkeligt gørende på et vestligt publikum, Tæmmet mange sekvenser demonstrerer han men i stedet fungerer The Killer i Hard Target er simpelthen ikke eks­ stadig, at det ikke er det samme som kraft af sin ustoppelige energi bare trem nok. Manuskriptet (af Chuck en tam John Woo! som en fuldstændigt renset action­ film. Hard Target (...), USA 1993. I: John Woo. Herunder: Van Dammes kampteknik er gen­ Medv: Jean-Claude Van Damme, Yancy But­ Belgisk stjerne nemført elegant. ler, Lance Henriksen. Nu er John Woo flyttet til Los An- geles - til dels i protest mod Hong Kongs overdragelse til Kina i 1997 - og med Hard Target har han lavet sin første film i Hollywood. Hard Target er en slags opdatering af den klassiske 'The most dange- rous game’. En gruppe skruppelløse mænd (een af dem er en hvid sydaf­ rikaner!) tjener formuer ved at arran­ gere en helt særlig form for storvild­ tjagt for kunder der har penge nok. Byttet er hjemløse krigsveteraner, der ikke har en chance overfor jæ­ gernes højteknologiske våben. Den belgiske kampsportsstjerne Jean- Claude Van Damme er den arbejds­ løse sømand, der kommer på sporet af sandheden og ender med at blive jægernes sidste 'hard target’. Klassisk Hollywood-action; og langt hen ad vejen mere Hollywood end John Woo. 9.
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