SUMMARY: For avid fans of JOHN WOO’s Action films, this TWO-PARTER, after a 5-year long absence is DEFINITELY one of WOO’s EPIC BEST. So don’t miss it!
“All WARS are the same. Either you KILL or get KILLED.”
THE CROSSING is in part, a romance film, a disaster film and a war film all rolled into one. The battle cries make you wanna go home and hug Mama dearest.”
You won’t like him one single bit in the beginning.
He’s arrogant, cocksure and bullish.
Until you learn that he has A BIG HEART to match his GENEROUS SOUL.
THE GLOOM OF WAR. Pathetic.
THE DOOM OF WAR. Scary!
SHE PINES FOR HER LOVER TO RETURN SAFELY. Yet will she survive the swallowing waves in PART TWO?
MASAMI NAGASAWA and TAKESHI KANESHIRO play a doomed couple.
HUANG XIAO MING and SONG HYE-KYO play a happily MARRIED COUPLE. Will they survive the deadly storm?
SHE SCREAMS IN FEAR, FIGHTING FOR DEAR LIFE.
TONG DA WEI may be understated, but he is an accomplished actor.
” THE CROSSING 1 / 太平轮 (上) 2014″
MOVIE PREVIEW
” THE CROSSING 1 / 太平轮 (上) “ is, by all accounts, an eye-opening feature taking us through the bloody horrors of war.
You have, on dry land, the civil wars that are brewing non-stop to a broil.
Out on stormy seas, another kind of danger lurks.
It’s a no-win situation.
Either way you get to die, or be eaten alive!
THE BRIEF:
The significant date is Jan. 27, 1949. The luxury liner Taiping is fast sinking after it collides with a cargo ship near Taiwan’s Chou Shan Archipelago. Panic prevails on board.
Only a handful of 50 out of the 1,000-plus passengers is going to see the light of day. Which one of the leads will perish in the perilous waves?
We will be shown how Mao Zedong’s People’s Liberation Army (PLA) closes in on the Nationalist government, peremptorily exercising mastery over the ship.(known for often making the numerous escapist trips between Shanghai and Keelung (eastern Taiwan).
It would be one of the last lifeboats ferrying escapists to freedom in a foreign country, far away from the communist rule.
Set during the turbulent war years of the 1940s, when Chiang Kai-shek (蔣介石) and his nationalist army flees to Taiwan after losing the civil war to the communists, the NT$2 billion (US$ 64 million) film is gracefully decked with a pan-Asian, all-star cast headed by China’s Zhang Ziyi (章子怡), Huang Xiaoming (黃曉明) and Tong Dawei (佟大為), Taiwanese-Japanese actor Takeshi Kaneshiro (金城武), Japanese actress Masami Nagasawa and Song Hye-kyo from South Korea.
Dubbed the Chinese version of Titanic, “The Crossing” is a weepie, albeit a love story — or three, to be exact, as the film zooms in to highligt three star-crossed couples fleeing China on an ill-fated ship bound for Taiwan in 1949, during the retreat of the Chinese Nationalist Party (KMT)
THE PLOT:
Tong Daqing (Tong Da Wei), a common soldier, meets an impoverished Yu Zhen (Zhang) over posing for a fake “happy family with baby in tow” photo assignment in Shanghai. Tong needs this photo to apply for a “food sanction” for his aged parents. Yu Zhen needs the money.
Their paths cross and quickly separate again, leaving Tong longing for a second encounter. By this time, he is in love.
Released from the prisoner-of-war camp when the war ends, Yan Zen Kun (Takeshi Kaneshiro) returns to Taiwan, only to find that his Japanese girlfriend, Noriko (Nagasawa), has been repatriated to Japan.
The final looming civil war is soon to become a dire reality. Lei Yifang (Huang Xiao Ming) sends his wife (Song Hye-Kyo) to Taiwan before departing for the frontline.
Across the Taiwan Straits, Zhou has a premonition that she might never see her husband again as he is fighting a doomed battle against the Communist Chinese army.
“The Crossing” is a magnificent project that unites three parallels to tell an epic tale of love and courage in a turbulent age.
Supported by a super duper technical crew led by top-notched Director-of-Photography Zhao Fei, the film’s graphic battle sequences brilliantly depicts the cruelty of war, and serve as a counterpoint to the characters’ longing for peace.
A combination of health issues and some difficulties winning script approval from Chinese authorities partly account for the four year hiatus.
“The Crossing,” previously known as “1949,” has subject matter that could certainly be sensitive in China: it depicts the voyage of three refugee couples from mainland China to Taiwan during the War of Liberation.
The ill-fated Taiping ferry capsized on January 27th, 1949 in the Baijie Straits.
“WU XIA” is a magnificent piece of film noir by celebrated director PETER CHAN.
Make no bones about it.
The CASTING is a stirring potpourri of finesse, skilfully blending a splash of retro actors to challenge the new, to render us one of the more watchable martial arts films in recent years.
Trudge memory lane, folks.
Behold taut action entertainment laced with doses of ancient wisdom aplenty.
An overflow of didacticism can sometimes be tiresome though.
DONNIE YEN treads precariously between the old and new school. He has spent more than two decades as an actor and it is in recent years that his star is finally shining extremely bright.
JIMMY WANG YU (the supreme one-armed swordsman of the hazy 60s) astounds in a ferocious cameo come-back and is a force to be reckoned with.
In truth, he is a forgotten hero and it’s a welcome respite to see him dominates the giant screen again.
Apart from his aging, he is otherwise in true form, excelling in what he was known best, as a formidable martial arts artiste.
Then there is the lovely, evergreen KARA HUI who can give the younger actors a run for their money. This dame can surely fight.
In the background and no less insignificant are TAKESHI KANESHIRO and TANG WEI taking much of the screen time.
The list goes on.
The plot takes you through the throes of the late Qing dynasty.
DONNIE YEN is in the role of Liu Jin Xi, an amicable paper maker who’s content with an idyllic life of peace in a small town. This man hides a secret identity.
His family unit comprises of his loyal wife Liu Ayu (TANG WEI) and two adorable children.
It appears that their happiness is short-lived.
Along comes an adversary in the form of a nosy detective cum part time acupuncture expert called Xu Bai Jiu (TAKESHI KANESHIRO) who’s bent on uncovering Liu’s past life as Tang Long, a dangerous butcher.
“WU XIA” dramatizes a cat-and-mouse battle of wits between the two men – one shying away from a past that is best forgotten, and the other determined to dig dirt and drag him back to justice.
In part a martial arts action movie, it is by large, a heart-wrenching drama showcasing the emotional prowess and grit of the two male leads.
PETER CHAN is in his element when it comes to remarkable film making in its finest form.
He is not into mindless fight sequences and is adept at weaving the intellectual emotivity into the film’s dramatic highlights.
However, it is Yen’s action choreography that carries the pulse of this movie to demonstrate the awesome splendor of WU XIA.
Compelling performances from an all star cast ensures a cutting edge entertainment that can only arrive at our shores once in a long while.
The start may be a tad draggy with the pow wow action coming in after the first half.
Cinematography, jointly by LIU YIU-FAI and JAKE POLLOCK, is captivating and impressive.
The duo manages to give the take and mood of each scene a powerful dose of poetic rhythm.
“WU XIA” is, by and large, a long anticipated martial arts feature that is definitely worth waiting for.
