Blind Detective by Johnnie To

Blind Detective by Johnnie To

Forced to leave service after turning blind, former detective Johnston Chong See Tun (played by Andy Lau) makes his living by solving cold cases for police rewards. During a bank robbery case, he meets an attractive hit team inspector Goldie Ho Ka Tung (played by Sammi Cheng). When Ho notices Chong’s strong sense of hearing and smell, she enlists his help in a missing person case.

Blind Detective marks the sixth time Andy Lau and Sammi Cheng have played an onscreen couple. Three of them, Needing You, Love on a Diet and Yesterday Once More were all Milkyway productions. Their first collaboration in the office romantic comedy Needing You is the original blueprint of their coupling, establishing the lovable quirks of Sammi Cheng, the catchy pop theme song sung by Cheng and her charming chemistry with Andy Lau. When Andy Lau and Sammi Cheng are next to each other in a movie, it’s so dripping in charm you feel like anything can happen. They can be pigging out at a restaurant, do crazy borderline illegal things or scream at each other. No wrong can be done.

In a way, that is the guide to enjoying Blind Detective. Lau and Cheng completely drive the film, not the plot or the mystery. It’s a combination of Johnnie To’s 2007 Mad Detective and the fourth sequel-in-spirit of Lau and Cheng Milkyway romantic comedies. In fact, having that preexisting knowledge is a requirement to understanding the film’s meandering tone.

At 130 minutes, Wai Ka-Fai’s script takes on more subplots than necessary. The mystery plot had me most engaged, and I liked how the crime-solving plot sprouted in multiple cases. The final reveal seemed rushed and a bit far-fetched to be truly believable. And there were details that should have been caught. The subplot with Andy Lau trying to woo a dance instructor played by Gao Yuan Yuan is cute but extraneous. It’s like the filmmakers brainstormed every possible thing for Andy Lau and Sammi Cheng’s characters to do, filmed all of them, and couldn’t decide what to take out.

In the end, Blind Detective is a weird animal. It won’t translate to overseas audiences and probably shouldn’t have premiered at Cannes. It’s biggest achievement is it knows its stars are the main attraction and does everything it can with them. Andy Lau seems to be relishing in this role and it’s adorable how his character is a major foodie. I laughed throughout it’s entirety, never really questioning where the plot was going because I knew the context. And for that, people who are familiar with Andy Lau and Sammi Cheng’s coupling in Milkyway productions will have a better time.

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American Dreams in China by Peter Chan

American Dreams in China by Peter Chan

During the economic reform period of the 80’s, three friends bind together by a common ambition – to live the American dream.

The three leads Huang Xiao Ming, Deng Chao and Tong Dawei create a very believable camaraderie. It is possible to be happy for your friend doing well and envy him at the same time, and that is the central story between these three friends. Huang Xiao Ming brings his best performance thus far. He’s not busy preening for the camera and posing a pretty boy as I have seen in his past works. It’s partly the role itself as it asks Huang to start by playing a vulnerable teenage boy who eventually that ages into a man.

There’s a trend of using very fast cuts in Mainland comedies right now. It originated with Ning Hao’s 2006 heist comedy Crazy Stone – which drew its visual style from Guy Ritchie – and now it has officially embedded itself genetically as filmic grammar for Chinese comedic dialogue. There’s a scene where two of the friends had a fight and complain about each other individually with the third friend over a ping pong game. The cutting is so fast between conversation A and conversation B that it’s impossible for the audience to really feel what these characters are going through. These montages will happen every now and then to speed the story ahead. It’s zany for sure, but at times I wish they would let the scenes breathe instead of zeroing in for laughs.

That said, it’s smart on Peter Chan’s part of picking up on this trend and using it here because American Dreams in China is a Mainland Chinese story made for the Mainland audience. The content may prove more difficult with English-speaking audiences whom aren’t aware of the cultural context or why the 3 friends carry the values they do about America and the American Dream to laugh at it whole-heartedly.

Suffice to say, Chan balances the film well and it is impressive to see a Hong Kong director tune to a Mainland frequency. Best thing I can say about Peter Chan’s direction is that he is worldly. He doesn’t portray Americans as white devils, which makes things more interesting and engaging. American Dreams in China will connect with its audience, namely Chinese people who were born in the 80’s, and those people will enjoy it. Everybody else I am not so sure but this is a nice gem of a film nonetheless.