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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The Place Beyond The Pines by Derek Cianfrance

The Place Beyond The Pines by Derek Cianfrance

A motorcycle stunt rider turns to robbing banks  to provide for his lover and their newborn child. This decision puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective. The sweeping drama unfolds over fifteen years as the sins of the past haunt the present days lives of two high school boys wrestling with the legacy they’ve inherited.

Ryan Gosling gives the silent minimalist performance as the motorcyclist Luke Glanton. It’s slowly becoming to be his trademark, and justifiably so because he’s great at it. Bradley Cooper appeared on Inside The Actor’s Studio as a guest, where it was said he was the most promising acting talent of his graduating year at Pace University. Bradley Cooper is officially starting to show that talent now. It wasn’t displayed in his previous projects. Dane DeHaan is a promising versatile talent. He really sells torture well. I look forward to seeing him as Harry Osbourne in the next The Amazing Spider-man movieBen Mendelsohn and Ray Liotta both sell slimy well. It’s a good cast and they all deliver, but they all have accomplished similar roles in other past projects.

The Place Beyond The Pines‘s core theme, due to the nature of the plot structure, will not be clear to the audience till the latter half. The story makes a shift and changes its central character. In that very moment, to really enjoy the film, the audience has to let go, take a step back and view the film on a larger canvas. Characters becomes archetypes and plot becomes saga. The sins of the father pass onto the son and we see the cause-and-effect echo from generation to generation.

For me, I took that step back and all of a sudden I was pondering on bigger themes. Instead of thinking about bank robbers stealing money or police battling corruption, I thought about karma, the butterfly effect and the idea of violence perpetuating violence. At the final shot of the film, I was moved. It was a poignant, beautiful and poetic ending. I was impressed how the narrative touched me with its subtext by completely divorcing it with its supertext. This gambit the film plays on the audience is probably what will divide them. It doesn’t help that the supertext of the film utilizes familiar genre conventions; at times it’s a heist movie, other times it’s a police corruption movie. That might throw some people off but that’s what I loved about it. It was a bold narrative move and it was well played. Derek Cianfrance, well done!