SARS Wars (2003)

SARS Wars (2003)


February 26th, 6:30PM in Garland 104 (2441 E. Hartford)



During the last decade or so, Thai cinema has been able to break into the international arena with art films and dramas such as Last Life in the Universe and action films like Ong Bak. Another area that is equally popular domestically is the Thai horror comedy. More recent films like Body Jumper and Sick Nurses have shown that Thai horror films have a firm place in the international market, especially the quirky little oddities such as SARS Wars.

The films plot involves the kidnaping of the daughter of a prominent industrialist by a crime gang. Unknown to them is the fact that their high rise hideout has become the starting point for a new zombie making super SARS virus.

Before long it’s a frantic mix up as the criminals, bounty hunters and average citizens all attempt to survive the zombie bloodbath. The situations in the film become progressively over the top leading to some interesting encounters. SARS Wars is a film that does not take itself very seriously, but takes the viewer along for a strange, but enjoyable ride through its own crazed logic.

Thailand, Director Truc 'Charlie' Nguyen, Cast Johnny Nguyen, Dustin Nguyen and Thanh Van Ngo, 104 minutes, in Thai with English Subtitles.

Blind Shaft (2003)

Blind Shaft (2003)


February 19th, 6:30PM in Garland 104 (2441 E. Hartford)


Mainland Chinese cinema walks a fine line when it comes to serious films critiquing the sensitive social issues that exist in modern China. One film that found itself on the wrong side of this balancing act is Blind Shaft.


Its story revolves around the illegal coal mining industry and its suicidally dangerous working conditions. This is seen through the eyes of a pare or wandering con-men who stage accidents in order to collect hush money.

In the film, the duo befriend a naive young man who has only recently left his rural village to seek work. The film then becomes equal parts coming of age story, social commentary and dark comedy. Some critics include Blind Shaft among the ranks of the neo-noire, or the contemporary examples/revivals of film noire such as Chinatown (1974) and Devil in a Blue Dress (1995).

Despite winning a wide range of international awards, it has still not been cleared for release in China. This is the first of a loose trilogy of films by director Li Yang, each one focusing on the problems of modern China. These include Blind Mountain (2007) which revolves around the sex slave trade and the still in production Blind River (2009).

Mainland China, Director Li Yang, Cast Li Qiang, Wang Shuangbao and Wang Baoqiang, 89 minutes, in Henanese with English Subtitles.

The President's Last Bang (2005)

The President’s Last Bang (2005)

February 12th, 6:30PM in Garland 104 (2441 E. Hartford)

Since the ascendence of South Korean film to a major, internationally popular world cinema starting in the late 1990's probably the most controversial film to come out of this wellspring is a strange black comedy/drama called The President’s Last Bang. It recounts the events of the Assassination of President Park Chung-hee, the head of South Korea’s Military government by his domestic intelligence chief.


The film was initially banned but was later allowed to be released in its uncensored form. The varied interpretations surrounding these events is still able to bring about strong passions in modern South Korea and the film does not shy away from offering its own interpretations.

South Korea, Director Im Sang-Soo, Cast Han Suk-Kyu, Baek Yub-Shik, Jeong Won-Jung, Song Jae-Ho and Kim Eung-Soo, 104 minutes, in Korean with English subtittles.

Lady General Hua Mu-Lan (1963)

Lady General Hua Mu-Lan (1963)

February 5th, 6:30PM in Garland 104 (2441 E. Hartford)


Chinese opera films continue to be virtually unknown in the west, while many are simply filmed versions of opera performances there are many epic opera films made with high production values and originality. There are more then thirty varieties of Chinese opera, but once opera form stands apart in terms of the quality of its representation on film.

Huangmei opera, which literally means Yellow Plum music or songs is a traditional opera form from China’s Anhui Provence. The style was unique among other Chinese opera forms for its rhythms and restrained movements.

In 1958 the Shaw Brothers studio produced a big budget Huangmei opera film called Diau Charn. This polished and slightly modernized cinematic telling of a story from the novel Romance of the Three Kingdoms became incredibly successful leading Huangmei opera films to arguably become the most popular film genre in Hong Kong from the late 1950's to the mid 1960's. Arguably the most successful Hong Kong film of all time is Huangmei Opera The Love Etern from 1963 directed by Li Han Hsiang who also directed Diau Charn.

Lady General Hua Mu-Lan was directed by Yueh Feng who is known for directed several Huangmei classics such as The Lotus Lamp(1965) and The Three Smiles(1969). The films star playing the tittle character is Ivy Ling Po, along with Linda Lin Dai she is considered one of the two great actresses of the Huangmei opera film.

The story of this film is based upon the classic Chinese poem of Mulan. This particular story is now widely known about in the west because of the 1998 Disney animated film Mulan. Because of this, the film is a perfect jumping off place for someone to be exposed to Huangmei opera, since most opera films are based upon events from classical legends and novels few of which would be known widely in the west.

Hong Kong, Director Yueh Feng, Cast Ivy Ling Po, Chian Han, Yang Chi-ching and Chen Yen-yen, 99 minutes, in Mandarin with English subtittles.

Fall Guy (1982)

Fall Guy (1982)

January 29th, 6:30PM in Garland 104 (2441 E. Hartford)



Director Kinji Fukasaku is best known in the United States for Battle Royale (2000) or his gritty 1970's Gangster films, but his carrier is actually much more diverse. An example of this is 1982's Fall Guy. Its story is a kind of comedy/melodrama centering on the character of a self obsessed star actor and his exploits in and out of the movie studio and ranges from serious to near slapstick.

Japan, Director Kinji Fukasaku, Cast Morio Kazama. Keiko Matsuzaka, Mitsuru Hirata and Chika Takami, 109 minutes, in Japanese with English Subtitles.

The Series Will Soon Return

The Asian Film Series will return shortly with another semester of varied Asian films for indaviduals connected with the university and those in the community. If there is a particular film you would like to see in the coming months please let me know by posting the the comments of this blog entry. I will try my best to include in the series.

Miracles (1989)

Miracles (1989)

December 18th, 6:30PM in Garland 104 (2441 E. Hartford)

In 1930's Hong Kong, Jackie Chan plays Kuo Cheng-wah a country bumpkin trying his luck in the big city. Soon after arriving he has a series of bad experiences before receiving a rose from an old destitute flower seller (Gua Ah-leh). Instantly his luck seems to change as he becomes involved in a fight between two large triad gangs only to be made into one of the gangs leaders after the triad members misinterpret their dying leaders last words.

Being far from a criminal Kuo attempts to reform the gangs criminal ways by opening a legitimate nightclub. Soon after he encounters a talented singer (Anita Mui) who he employs at his club in order that she can settle a family debt. After a time he starts to fall into his new life only to be faced with a problem involving the rose seller. He has a belief that her roses bring him luck and will not make a decision or take action until he buys his daily rose. It seems her daughter who has been living in boarding school for most of her life believes her mother is a wealthy social light. Now the daughter has informed her that she will soon be arriving with her fiancé who is the son of a wealthy businessman from the mainland. Now Kuo using the power of his gang attempts to help by convincing her daughter’s fiancé and his family that her clams are true.



Miracles is a remake of the 1961 Frank Capra film A Pocket Full of Miracles which was in fact a remake of a 1933 Capra film Lady For a Day. As surprising as some not familiar with Hong Kong film making might find this next statement, this film might be superior to Capra’s. Those that know of his work and creative output should be well aware of Jackie Chan’s great reverence for the Hollywood films of the 1920's and 30's and this can be said to be his ultimate tribute to them not to mention probably his most polished and personal film. This can also be said to be one of the last great epics of the Hong Kong film industry before its partial collapse after 1993.

The cast of the film is extremely impressive. Containing some of Hong Kong’s greatest principal and character actors in major roles and frequent cameos. Some of the best of these secondary performances include Wu Ma who plays the second in command of Chan’s gang and Richard Ng who has the role of a bumbling police detective.




As for the principal actors, actor/singer Anita Mui finds one of her greatest film roles as Chan’s love interest. The two of them show a kind of kinetic on screen chemistry. She also excels in a scene involving a musical montage showing the clubs development over time. Chan too is in top form both as a actor and in the directors chair. In some ways this film for him can be likened to Hart of Dragon (1985) in that they are both meant to put to rest criticism regarding Chan’s supposed lack of range. In Heart of Dragon he plays the sole guardian of his retarded brother who to some degree is forced to give up his own happiness and prospects for the future to care for him. The film had a lot in the way of drama and little in terms of action. In Miracles there is more in the way of action, but not an excess of it, although what there is remains some of the most impressive pieces of his career. Instead the film relies much more on plot and character development. Some people that are only interested in Chan in action roles might find this a bit slow, but for those that appreciate other elements as well might find one of his best.




In terms of the production values I did not use the term epic haphazardly. The film fielded a very impressive budget for a Hong Kong film of the period and it uses it to construct some massive sets and to import the latest technical equipment from the US and Japan and it shows. Chan had progressed substantially as a director by this period and possesses a strong artistic vison for the film. Also present is the expert cinematography of Arthur Wong and the highly enjoyable jazz score of Lei Siu-Tin who also has a cameo in the film.

This is one of the must see films for those who believes that Jackie Chan is a one trick pony. The only problem that some might find with it is if they came into the film expecting nonstop action and instead found equal parts story, style and characterization.

Hong Kong, Director Jackie Chan. Starring Jackie Chan, Anita Mui Yim-Fong, Gloria Yip Wan-Yi, Wu Ma, Richard Ng Yil-Hon, Bill Tung Piu, Ray Lui Leung-Wai. In Cantonese with English subtitles, 127 minutes.