Written by Craig E. Miller (HongKongFury.com) Photo Credit: Deadline.com
Upon coming to prominence with western audiences, following his American directorial debut – ‘Hard Target’ (1993), starring Jean-Claude Van Damme – John Woo, has continued to be held in high regard by action movie enthusiasts, considering him to be among the best at his craft. Despite opening to mixed reviews from critics, Woo’s ‘Hard Target’ went on to become a commercial success, grossing approximately 31.6 million dollars (The-numbers.com, 2017) during its domestic theatrical run.
There had been attempts in the past, some had tried and failed, John Woo appeared to have successfully broken into the American market. Captivating western audiences with blistering action, sensationally choreographed gun-play and the downtrodden anti-hero, out to settle scores; all of which had already become a recognisable trademark within his previous (Cantonese) films.
The 1980s hailed a new age in the action genre. Hollywood appeared to be embracing the increasingly popular genre and the overwhelmingly lucrative opportunities that it appeared to possess. James Cameron’s ‘The Terminator’ (1984) and Ted Kotcheff’s ‘Rambo: First Blood’ (1982) earned an astronomical worldwide gross of approx. $78,371,000 and $125,212,000 respectively (BoxOfficeMojo.com). Audiences flocked to cinemas to see their favourite stars, portraying ex-soldiers, corrupt cops or futuristic killer cyborgs, in all their violent and bloody glory – Arnold Schwarzenegger, Sylvester Stallone and Bruce Willis, all became synonymous with violent and blistering action-packed movies.
However, a storm was brewing in the Orient. A new form of action cinema, envisioned in the backlots of Hong Kong based film studios, was about to revolutionise the genre and break from previous conventions.
Traditionally, Chinese films best categorised as ‘action’, were typically martial arts orientated, and at times fused elements of action and drama. Film companies like the Shaw Brothers Studio produced epic Chinese cultural dramas that seemed to forgo realism, in favour of a more fantastical approach to storytelling, almost operatic in nature. The 1978 Shaw Brothers production ‘Heroes of the East’ (directed by Lau Kar-Leung), perfectly encapsulates this style of cinema. The meticulously choreographed fight sequences take centre stage here, combining a mix of traditional martial arts, like Kung Fu, complemented by some sensational stand-offs and scuffles with traditional Chinese weaponry. The over-the-top acting (a common occurrence among films of the period) does little to detract from the enjoyment of the action sequences, although it does (at least from this westerner’s point of view) deter the emotional impact clearly intended by the director, given the film’s third act.
Martial arts remained the primary focus in the majority of the Hong Kong produced action movies during the early to mid-1980s. In particular, this period saw the rise to prominence of the now international superstar, Jackie Chan. A frequent collaborator with producer Raymond Chow and fellow Chinese Opera School peers, Yuen Biao and Sammo Hung, Chan’s physical ability and on-screen charisma had allowed him to successfully carve himself a unique take on the action genre. Incorporating comedic elements into many of his films often led to a lot of light-hearted moments, resulting in a fine balance of action and laughs, even in some of the more violent of Chan’s films. Chan more often than not portrayed the main protagonist, seemingly incorruptible, any long-time fan of Jackie’s will find it hard to remember any particular film in which his character swears, kills or engages in any substantial intimate relationship with any female characters. In fact, this was so much so the case that Chan’s first big western venture – James Glickenhaus’s ‘The Protector’ (1985), came as a shock to his home audience in Hong Kong, when his character uses the ‘F-word’ and instead of showcasing his physical talents, the director opts instead for Chan’s character using a gun to defeat his foes – perhaps believing western audiences would prefer this to martial arts, which did not have the amount of exposure and practitioners in the west, as it does now. Despite the success of Chan’s films and the warm reception from Hong Kong audiences to the happy-go-lucky (yet tough) protagonist he had become iconic with, an up and coming, Hong Kong based director was about to change the rules of storytelling in Hong Kong action films – replacing the good and pure hero, with the flawed and morally questionable anti-hero.
Enter, John Woo.
Following a series of directorial roles in Hong Kong during the 1970s and early 80s, Woo is said to have become disillusioned with the studio system, retaining little creative control over his films. Despite continuing to direct some smaller films during the early to mid-1980s, Woo was taking steps to secure funding and begin production on his true passion project. Produced by Tsui Hark, ‘A Better Tomorrow’ was released to Hong Kong audiences in 1986, the star-studded cast consisted of Chow Yun-Fat, Leslie Cheung, Ti Lung and Emily Chu. The film centres on the Hong Kong Triad syndicate and the volatile relationship between two brothers at opposing sides of the law. Ti Lung playing an esteemed Triad member and Leslie Cheung portraying his younger brother, a promising Hong Kong policeman – ultimately drawn between his loyalties to his older brother and obligations to uphold the law. Though produced against a modest budget, the film’s reception was seismic and went on to become a domestic commercial success. The film garnered glowing reviews, most notably praising the combination of visceral action sequences, with scenes of poignant drama and an overall moving plot throughout, achieved through superb performances across the board.
Particularly, Chow Yun-Fat’s dramatic performance as ‘Mark Lee’, the hard as nails Triad member and partner in crime of Ti Lung’s, was exceptionally well-received by audiences and critics alike, solidifying his place as one of the most coveted actors in Hong Kong. In ‘A Better Tomorrow’, John Woo delivers some of the most tantalising and raw shootout sequences of his entire career, with the (now iconic) duel-gun firing, suit and trench-coat wearing anti-hero, dispatching enemies’ a hundred bullets per minute. Woo’s had produced sensational gun battles, captured through fluid camera movement, smooth editing and special effects, where every squib or explosion was carefully timed to seemingly pinpoint accuracy. This sensational filming style, shooting close-quarters gun battles that almost mimicked that of traditional martial arts fight sequences, led to the term ‘Gun-Fu’ being coined.
This so-called ‘Gun-Fu’ and the blood-soaked anti-hero, with whom (due to the circumstances of the plot) the audience can often empathise with, both became staples of the majority of Woo’s action films from then on. A frequent collaborator with Chow Yun-Fat, following their work on ‘A Better Tomorrow’ (1986), Woo often had his main protagonist portrayed as a bad person, whom yet holds redeemable qualities also. This more realistic, gritty approach to the subject matter of crime, punishment and violence, is a sharp contrast to that seen in some of Jackie Chan’s action flicks, where there seems to be no real consequences for the hero at the end of the film. John Woo and Chow Yun-Fat’s 1989 outing ‘The Killer’, has Fat portraying a somewhat reluctant Triad hit-man, yearning for a life of peace. After inadvertently causing a severe injury to a talented young piano player (Sally Yeh), that results in her blindness, during a club shootout, Fat’s character is riddled with guilt and eventually develops a relationship with the young woman – deciding to use his ‘retirement’ money for her sight corrective procedure. Ultimately, by the third act, the audience is rooting for Fat’s character (now pursued by police and Triad alike) to escape his violent life in Hong Kong, starting a fresh with his new found love. However, Woo instead opts for a more realistic, less glamorous ending to the story, emphasising the theme of crime and punishment, the consequences of his deeds eventually catch up to Fat’s character, resulting in a poignant, heart-breaking ending – leaving a bittersweet taste in the audiences mouth. The action set-pieces in ‘The Killer’ (1989) seem to dwarf that seen in ‘A Better Tomorrow’ (1986), however, John Woo’s trademark directing style remained at the forefront.
Check out this video of a stylistic shootout sequence from ‘The Killer’ (1989) –
Even someone previously unfamiliar with Woo’s Hong Kong films will instantly recognise similarities of with his later Hollywood films.
Not only was the film well received in its domestic release, but also secured a limited U.S. screening, resulting in the film gaining a cult following in the west. Woo’s success in the genre only continued into the 1990s with notable the releases of ‘Hard Boiled’ (1992) and ‘Once a thief’ (1996), both of which starred Chow Yun-Fat among the main billing.
Hollywood Chapter.
The 1993 release of ‘Hard Target’, marked the beginning of a period during the 90s and early 2000s in which Woo produced a number of Hollywood films in quick succession, often starring A-list celebrities, like John Travolta and Nicholas Cage. Anyone familiar with Woo’s Hong Kong action films of the late 80s/early 90s will notice similarities in themes and style to that seen in the likes of ‘Broken Arrow’ (1996) and ‘Face/Off’ (1997), both starring John Travolta. Woo had successfully translated his mix of trademark firearm action and drama, to a Hollywood produced film, aimed at western audiences. Even in Woo’s directorial role on ‘Mission: Impossible 2’ (2000), a film that, in the UK, was given a BBFC (British Board of Film Classification) ‘12’ certificate, he manages to include a few sequences of ‘Gun-Fu’ complimented by his signature sweeping and fluid camera movements.
Since first envisioned and put to film by John Woo in 1986, one only has to consider how many western directors have attempted to replicate the visual style of his action sequences, to truly see how influential the Chinese-born director has been on the industry, let alone the action genre. The action/thriller film ‘John Wick’ (2014) and more recently, the sequel ‘John Wick: Chapter 2’ directed by Chad Stahelski and David Leitch, pays direct homage to ‘The Killer’ (1989) and the directors are on record for having cited Hong Kong action cinema, in particular John Woo films as direct influence for their films. John Woo is indisputably a master of Hong Kong action cinema and his influence continues to endure, not only in the Hong Kong film industry, but just as much in the West also.
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