Retrospective Review: Double Team by Tsui Hark

Double Team by Tsui Hark

There comes a time for every filmgoer when you like a bad movie that nobody likes. You can’t really pinpoint why you like them and it’s a bit embarrassing. Nobody really cares why you liked it because nobody wants to talk about a bad movie. You cannot exactly defend the movie because you see why it’s bad but you feel obligated to point out what’s fun about it. I’ve been wanting to write about films that aren’t new releases. This seems like a good opportunity to write about a film that I enjoy and really want to have a discussion about. So here are my thoughts on the 1997 Tsui Hark action film film Double Team

Let me set it up the historical context. It was 1997. There was a rising trend of Hong Kong action cinema in the West that came in the form of VHS, thanks to the long gone Blockbuster video store. A mutual interest begun to develop; Hollywood producers wanted to inject a new style into American action movies and Hong Kong directors were curious and excited about working with Hollywood resources. John Woo was the first Hong Kong director to be hired for a Hollywood project, and later Ringo Lam and Tsui Hark followed. Coincidentally, all three worked with Jean Claude Van Damme in their Hollywood debuts. This trend eventually died when the Hong Kong directors weren’t that curious anymore and felt that they were being treated to the equivalent of low-cost B-movie directors and the Hollywood resources did not seem worth it by comparison.

John Woo was the only director to rise up the ranks working with other A-listers. Tsui Hark eventually returned to working on Hong Kong productions and Ringo Lam collaborated with Van Damme on a few more straight-to-video productions before retiring from directing.

Tsui Hark has always been a hit-and-miss director for me. He always wants to do too much and ends up overstuffing his films at the expense of the primary idea he started with. But here, perhaps because it was hi American debut, that problem is not here. Working with an American studio and an English language script forced Tsui Hark to reign himself in.

So the setup… Counter-terrorist agent Jack Quinn misses his target, Stavros, on his final mission. He is sent to the Colony, an organization for presumed-dead assassins. He breaks free and seeks aid from Yaz, a weapons dealer for his final battle with Stavros.

Just a few small thoughts to get out of the way. The film is shot like a cartoon with its pastel-like color palette. The art direction is noteworthy as well, it gives a futuristic sense to everything here without being too far into the future or going too over-the-top. It looks like a future that can exist one day.

The idea of the Colony, a secret organization that helps police the world behind-the-scenes via surveillance and advice, is a pretty fun quasi-Utopian concept (the members of the organization live in a sea view resort but are not allowed to leave the place ever) and it is where the film picks up in its second act. The sequences where Van Damme rebuilds himself in a training montage and his escape from the Colony were both interesting and fun visual set pieces. They keep the movie interesting without relying on acting or fight choreography and are specifically designed around things Van Damme can do. Where John Woo dressed Van Damme with gunplay and Ringo Lam with drama, Tsui Hark dressed him up with visual crazy concepts and just let him shine throwing his signature kicks. Tsui Hark recognized that acting was not Van Damme’s forte (at least not until 2008’s JCVD) and decided to let him be the straight man and created chaos around him for contrast. This brings us to the casting of Dennis Rodman…

Dennis Rodman is funny in an absolute hammy way as Yaz the arms dealer. He is so blatantly obnoxious having so much fun playing himself and making basketball puns I can’t help it but laugh along with it. I’m not saying Rodman should be in every movie but he’s likable here. There’s an appeal in movies where the audience witnesses two characters that would never meet under normal circumstances. Van Damme and Rodman make such an odd pairing that it’s just interesting to watch. Heck, seeing Dennis Rodman fist bump a computer-hacking monk is mind bogglingly entertaining.

From a fight choreography standpoint, having to showcase Van Damme’s roundhouse kicks sacrifices a lot of smaller beats within a fight. Van Damme’s roundhouse kicks are beautiful but cinematically speaking, they look slow because of the 360° windup. It’s a powerful kick but also very one-note and requires a certain amount of distance, which means there is not a lot room for upper body parrying. You’ll notice Van Damme never does too much with his hands in his films but rather holding back so he can throw a kick. The roundhouse kick is also a definitive finisher; nobody who receives a kick like that can continue that particular round.

Double Team showcases Van Damme’s kicking ability by cinematically creating a sense of speed and power. Peter Pau, the cinematographer for Crouching Tiger Hidden Dragon, and Sammo Hung, the action choreographer, both solve that problem by injecting a crackling frenetic energy into the action scenes that makes the audience flinch and jump as if they were in the fight.

As an example, I’m going to describe an action sequence in the film:

Van Damme kicks a henchman, who is firing at him with a machine-gun-in-a-suitcase, through a hotel room door. The henchman falls into the hotel room and is kicked back into the opposite direction by another Chinese henchman. The henchman flies toward Van Damme like a sad ping pong ball. Van Damme roundhouse kicks him off to the side. He drags along the floor, barely alive, almost smashing his head to the wall. The camera then swish-pans to a white marble statue of a thinking man and lingers there for 2 seconds. Van Damme then fights the Chinese henchman (played by Hung Yan Yan, Club Foot from the Once Upon a Time in China series) in the living room, who then crazily takes off his shoes, revealing a switchblade held between his toes and proceeds to cut Van Damme with a series of kicks.

The short ping pong game between Hung Yan Yan and Van Damme speeds up the entire feeling of the fight because we’re only seeing Van Damme for half the time. The focus is brilliantly on the poor henchman who is being knocked back and forth. By the time we cut back to Van Damme, he’s already winding up to kick him to the side.

So how do they maintain the speed of the scene for the next part? Admittedly, Van Damme is passively dodging Hung’s kicks before retaliating but the idea of a henchman who is using a knife clenched between his toes to cut the hero is so insane that we’re just completely distracted. Yes, it’s a game of shifting the audience’s focus. Plus, Hung Yan Yan is a fantastic kicker.

Lastly, why that swish-pan to the statue? It’s such a tiny odd detail but it adds a lot to that moment. I always find myself laughing at that moment. Why? 1) It’s a moment of relief. It’s a short recess for the audience to rest their eyes. 2) We see that the henchman wishing he were dead. 3) Marble statues are beautiful. It’s an odd hilarious short tonal shift.

Here’s a clip of that action sequence here:

A lot of action gets better and better as the films goes on with shots like this. The end sequence with Mickey Rourke at the Coliseum made for a nice finale. They share a good fight. Even though it doesn’t seem well-planned on the villain’s part to place a whole field of marked mines and fistfight over it with a live tiger roaming around.

As for Mickey Rourke, he’s a decent villain but I don’t know why he had to buff up like that. It just makes him move more sluggishly. Perhaps that’s the filmmakers were busy thinking how to make Van Damme look good, they forgot about Mickey Rourke. It’s a shame because there’s nothing that exhibits his boxing training here. It’s still a great finale sequence nonetheless. The final explosion builds to a hilarious ending involving a hallway full of Coca Cola vending machines and the end credits end on a techno song featuring Dennis Rodman on vocals.

There is a lot of craft in this movie, but it’s buried under its blatant obnoxious surface because it’s so insane. The insanity is what’s mesmerizingly fun about it. And maybe that’s why audiences failed to connect with Double Team when it was released. I genuinely like this movie a lot.

With that all said, I will officially say it publicly. 3, 2, 1… I liked Double Team!

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Rust and Bone by Jacques Audiard

Rust and Bone by Jacques Audiard

Put in charge of his young son Sam, Alain (played by Matthias Schoenaerts) leaves Belgium for Antibes to live with his sister and her husband as a family. Alain’s bond with Stephanie, a killer whale trainer, grows deeper after Stéphanie (played by Marion Cotillard) suffers a horrible accident where she loses her legs.

I have struggled with writing about this movie for months now. I have accepted the fact hat this review just simply won’t do the film any justice. So I’m going to just go straight into it…

Marion Cotillard and Matthias Schoenaerts both give great performances. I don’t know if it’s because I find Marion Cotillard really attractive or if she’s just really engages me an actress, but in every one of her scenes, I feel like I’m watching someone suffer right in front of me. This is probably what people were describing back then when Marlon Brando broke out with method acting in A Streetcar Named Desire.

Matthias Schoenaerts plays Ali like a brute animal that wants to communicate but doesn’t know how to show his soft side. The way Ali fathers his son Sam is upsetting yet very engaging to watch. It dispels the idea that a lead character doesn’t necessarily have to be likable as long as he’s watchable. We can see how he is trying to be better, even though he can’t help but be himself.

Ali and Stéphanie are one of the the most memorable onscreen couples I have seen in a while. These two characters cannot be anymore different from each other and yet I believed their relationship. It feels so real the way the two leads play it.

The film is gritty, poetic and even elusive at times. It hit a very deep note inside me and that makes it very hard to talk about the film’s inner workings. It made me think of how love between two people really is very dependent on need, circumstance and timing. Ali’s animalistic alpha male nature is the exact thing that feeds into Stéphanie’s trauma from the tragic loss of her legs. He is so straightforward about having sex to the point where he almost doesn’t even notice she is legless, which in turn is what begins to make feel Stéphanie normal and even beautiful again. This slowly lifts her out of depression and she regains meaning in her life and supports Ali’s animal nature (in the form of underground boxing), which is the exact personality trait that always gets him in trouble.

Against the film’s gritty raw palette, the unfolding of their relationship was very touching and deeply romantic as I felt what every action and reaction means internally and externally to both characters. When two people fall for each other, it feels like they’re creating their own private internal world together. This movie made me feel like I am watching that world slowly being created between these two people. I liked being inside their idiosyncratic world. Even though the actual situation would seem depressing, on the contrary, it’s executed with such vivid detail with so many poetic truthful moments that it made me feel all warm and fuzzy inside. One noteworthy poetic moment was a scene where Stéphanie revisits her workplace and regains meaning to move on from her injury as she watches a killer whale through a tank.

Some have said that the ending feels abrupt. I did not feel that way. The melodramatic emotions all properly build powerfully underneath throughout the movie till it wells up and completely geysers its way to a satisfying finish. It did not feel like a jump at all. Some can say it was a hokey cheesy way to end the movie and that can be a legitimate critique but it worked for me. Rust and Bone punched my gut, turned me into a sap and left me speechless.

It’s one of the best films I’ve seen in 2012. I tremendously enjoyed it and recommend it to anyone. I need to see The Prophet now.

Mr. Nobody by Jaco Van Dormael

Mr. Nobody by Jaco Van Dormael

Life is full of choices. Every choice you make leads you onto a different set of choices. You never can possibly know what the best version of your life can be. That’s scary, after all, how do you make your life a worthy one?

A family is broken. A father and mother bring their son Nemo to a train station. Nemo is presented with a choice: should he board the train with his mother or stay with his father? Nemo ponders on this. The film proceeds to play out all the possibilities, showing twelve different lives of Nemo’s life spawning from this one choice.

The film functions on dream logic. We move from the physical into the imaginary, the metaphysical and dream states. It sounds confusing, doesn’t it? Yet the most noteworthy accomplishment is that each transition  is completely intelligible. Director Jaco Van Dormael constructs an inner logic for the audience. As the story progresses and branches out into new stories, we completely know where we are at and it all makes perfect sense. This all makes me realize one thing. This story could not have been told in another medium other than film. It incorporates every bit of film language possible: crosscutting, time transitions, spatial transitions, camera focal length etc.. Even a goddamn crane shot had a legitimate narrative reason for being there. And damn, that impresses me.

It’s not overly cerebral either. Nemo’s potential paths are centered around three women: Anna (played by Diane Kruger), Nemo’s potential one true love, Elise (played by Sarah Polley), a woman that Nemo loves but does not reciprocate and  Jean (played by Linh Dan Pham), as a woman who loves him but Nemo does not care for (this one really broke my heart). Much of the film is an examination of love and happiness. There’s a scene where the teenage Nemo rejects Anna’s invitation to swim with her on the beach. Anna leaves and we see them later as adults bumping into each other in a train station awkwardly years later. Nemo then ponders why he rejected her that day. And the film proceeds to play the alternate scenario, where he tells Anna the truth: Nemo does not know how to swim and did not know what to tell her.

I am a Jared Leto fan (I like his band 30 Seconds to Mars as well). Sometimes it’s possible to like an actor for his choices and he is certainly that case. It’s admirable that he takes smaller roles in art film projects that he respects rather than milk his looks to be famous (which he can totally do). He was great in Requiem For A Dream and Chapter 27 and also the most heartfelt part in Alexander and Lord of War. This is a challenging role and he takes it head on. He plays a convincing 117 year old man and it is fun to watch him play Nemo in the various versions.

Other noteworthy performances are Sarah Polley, who in one version is suffering chronic depression from an unhappy marriage, which she played very dimensionally. Watching her made me think how easily one-note the role could have been. Also Toby Regbo and Juno Temple as the teenage versions of Nemo and Anna falling in love was very endearing and they really sell the innocent sweetness of first love.

One bit I take issue with was the use of “Where is my Mind?” by The Pixies, which is eternally attributed to Fight Club, a film in which Jared Leto is in. There could been other songs to put in that scene. However that’s a minor complaint at best.

This film was released in 2010 and I saw it at the Hong Kong International Film Festival. Though in my opinion, this film is not talked about enough and definitely needs to be seen by more people. Mr. Nobody took me away. It broke my heart, touched me and made me ponder about life’s ironies. By the end I left the theater reflecting on my life and how I should live it.

I recommend everybody see it.