Lady Detective Shadow


Up on the rooftops.

(2018) Martial Arts (Dark Coast) Shang Ring, Zhang Pei-yue, Qi Jing-bin, Zhang Ren-bo, Qiu Yun-he. Directed by Si Shu-Bu

 

In China, Wuxia films are a staple, much as superhero films are here and westerns were in the 50s. They made some brief cultural impact with the success of Crouching Tiger, Hidden Dragon back in 2000 (and the legendary fight choreographer Woo-Ping Yuen who perfected wire work and is responsible for the graceful fight sequences in that film reportedly worked on this one) although it was to be, sadly, merely a brief moment in the American sun.

This film features Shang Ring in the title role as an itinerant Sherlock Holmes-like detective who travels throughout China solving whatever mystery comes her way. In the desert badlands of an, a string of brutal murders have been committed and the prefect of the city is sure that bandits from a neighboring town which is run by bandit gangs are to blame. Certainly, the evidence points in that direction as there is a literal convention of gangs occurring in an inn on the edge of town where the detective is staying along with her comic relief assistant (program note: none of the roles have been matched with the actors playing them in any literature I’ve been able to find other than the lead role). The Lady, whose given name is Sima Fei-yan, happens to be the niece of the city prefect who urges her to solve the crime for him. It also gives her a chance to catch up with the prefect’s son whom she grew up with and was at one time sweet on.

The closer she gets to the truth, however, the more she realizes that she is getting involved in something much larger than a mere serial killing. She is on the verge of unlocking an ancient secret that could mean life or death for those she cares about most.

Like many Wuxia films, the plot can be hard to follow sometimes and the subtitles roll across at light speed, sometimes too fast for even readers who are fairly speedy to make out. Characters show up in the film whose sole purpose is to kick the McGillicuddy out of somebody (or have it kicked out of them). The acting is over-the-top, the dialogue clunky and the special effects are often rudimentary at best. Some cinephiles turn their noses up at Wuxia for those reasons but true lovers of the genre realize that’s part of their goofy charm.

Most of the genre’s Western fans tend to come for the fight sequences and to be honest they won’t be disappointed, although they won’t be blown away either. This was a low-budget affair and at times it shows, whether on the lack of star power or the occasionally incomprehensible special effects decisions – just FYI guys, when horses gallop in the desert they leave a contrail of dust in their wake.

As entertainment goes, this is fun to watch if you understand the genre. Those who despise Wuxia films will likely not be converted to the cause watching this. Those that love them and forgive them their occasionally many sins are likely to find this a worthwhile investment of their time. Those unfamiliar with the genre and who are looking for an introduction to it, this probably isn’t a worthy starting point but at the same time it does maintain a lot of the elements common to most Wuxia films. One gets the sense that the producers were hoping to initiate a new franchise with this. It wouldn’t surprise me at all if they were successful in that goal.

REASONS TO SEE: The action is non-stop, just the way it should be.
REASONS TO AVOID: The story can be hard to follow and the special effects are weak.
FAMILY VALUES: There is plenty of martial arts violence.
TRIVIAL PURSUIT: This movie was initially made for Chinese television.
BEYOND THE THEATER: Amazon, FlixFling, Hoopla, Vudu
CRITICAL MASS: As of 6/24/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Crouching Tiger, Hidden Dragon 2: Sword of Destiny
FINAL RATING: 6/10
NEXT:
Sides of a Horn

The Girl With the Dragon Tattoo (2011)


The Girl With the Dragon Tattoo

Lisabeth Salander has Mikael Blomkvist in stitches.

(2011) Thriller (MGM/Columbia) Daniel Craig, Rooney Mara, Christopher Plummer, Robin Wright, Stellan Skarsgard, Steven Berkoff, Yorick van Wageningen, Joely Richardson, Geraldine James, Goran Visnjic, Donald Sumpter, Ulf Friberg, Julian Sands, Moa Garpendal, Embeth Davidtz. Directed by David Fincher

 

Sometimes a movie is so good when it is originally made that it seems virtually unthinkable that it be remade. Most of the time, those remakes fall far short of the mark. Once in awhile however, the remake comes out with a voice of its own that offers something to the original, enhances it even.

Purists were aghast when the hit Swedish film The Girl With the Dragon Tattoo was set for an American remake. There was some comfort in that Fincher, whose pedigree includes Se7en and Fight Club would be behind the camera but still there were shudders to think of what liberties and watering down Hollywood would do to the source material, the late Stieg Larsson’s novel (the first in a trilogy, all of which have been translated to film in Swede and all of them reviewed elsewhere on the site) which was grittier and more brutal than Hollywood tends to be.

Mikael Blomkvist (Craig), a crusading journalist and co-publisher of the left-leaning Millennium magazine has been convicted of libel against a wealthy Swedish venture capitalist named Hans-Erik Wennerstrom (Friberg). The judgment against Blomkvist essentially empties out his savings and puts Millennium at risk of failing. His co-publisher and lover Erika Berger (Wright) confesses that the magazine may have three months of life left at best.

Wennerstrom isn’t the only one looking into Blomkvist. A security firm is hired by lawyer Dirch Frode (Berkoff) to investigate Blomkvist and the operative of the security firm, Lisbeth Salander (Mara) is asked to turn in her report in person, something that makes her uncomfortable. It turns out that her report is pretty thorough and the few things that are missing are best left that way.

Berkoff represents reclusive industrialist Henrik Vanger (Plummer) who wants to hire Blomkvist to investigate the disappearance of his grand-niece Harriet (Garpendal) whom he believes was murdered by a member of his family 40 years earlier. There are certainly plenty of suspects; ex-Nazis who may not be as ex as they might have you believe; bitter, jealous and greedy, grasping money-grubbers, torturers, rapists and pederasts. Makes for quite a Christmas list.

At first Blomkvist is met with hostility from nearly everyone other than Martin (Skarsgard), Harriet’s brother who is skeptical that Blomkvist will find out anything new. Martin is running the family business now and not running it with much success. The once-vast Vanger empire is shrinking; once a great steel and railway manufacturer, they make most of their profits from fertilizer these days. Considering all the BS that is fed to Blomkvist, I’m quite certain he must have thought that appropriate.

As Blomkvist discovers that his e-mail was hacked by Salander (whose identity he doesn’t yet know), he is infuriated but begrudgingly realizes he needs a research assistant as he is making a little bit of progress but needs someone who can help him dig things up from corporate records at Vanger Industries. He meets Salander who proves to be skittish but intrigued; she isn’t very fond of men in general, having been raped brutally by her state-appointed guardian Nils Bjurman (van Wageningen). She did get her revenge however and proved herself someone not to mess with in the process.

Blomkvist and Salander turn out to make a formidable team and the lies and prevarications of 40 years of silence begin to slip away and they discover Harriet’s disappearance may be the gateway into a much more hideous secret – and that Harriet may not be the only victim. Worse yet, the killer is fully aware of their discoveries and has them both firmly in their sights.

When I found out about this remake, I was like most fans of the books and the Swedish versions somewhat troubled. I couldn’t see Hollywood allowing a movie to include scenes of graphic rape and torture, all of which were at the heart of the previous versions. I fully expected something sanitized and vapid. Then I heard that it was Fincher directing, and to be honest my reaction was “He’s probably the only director in Hollywood who could pull it off,” but I thought he might have difficulty getting the studio to allow him free rein to make the movie he wanted.

Surprisingly he did and we might have The Social Network to thank for it. The runaway commercial and critical success of that film has given Fincher greater clout than he’s had previously and might have allowed him to shut down studio interference in the project. Certainly the rape sequence and the torture sequence late in the film are as disturbing as those in the Swedish film and the book.

Craig was only able to do this film because of the delay in filming the latest James Bond. Here he plays a man unused to action, one more cerebral than some of the heroes he’s played lately and quite frankly Craig is up to the task. It is as different a role from Bond as you can get but equally as heroic, and if this franchise is successful will really put up Craig among the elite stars working today.

Mara is the breakout star here. One had to worry if she could fill the shoes of Noomi Rapace, who was so very central to the success of the Swedish trilogy.  Not only does Mara fill those shoes, she may well surpass them and will herself into stardom; this is a star-making performance to say the least. Salander is a tortured soul and certainly Mara captures that, but she’s also no longer willing to be a victim and the inner strength that makes Salander one of the most interesting heroines of all time is very much evident here as well. She may wear outlandish hair styles, provocative t-shirts and smoke far too much but she is also brilliant as well.

The movie is a bit longer than three hours long which was nearly more than my poor bladder could take – theater sodas are so darn large these days! It also fleshes out the Swedish film quite nicely, although the Swedish version ends with the death of the killer more or less with a brief coda showing a television report that covers the denouement between Blomkvist and Wennerstrom. The American version plays that out a bit further which frankly was unnecessary for my taste.

Still, this is some terrific filmmaking buttressed by some great performances, particularly in the case of Mara (Plummer and Skarsgard, both veteran actors, also deliver solid performances). It may be too intense for some, a bit too long for its own good but by and large this is a really good movie that doesn’t disgrace its source material in the least; if anything, it enhances it nicely and makes for a worthy addition to Larsson’s legacy.

REASONS TO GO: Mara does a star-making turn here. Based on one of the best-written thrillers in recent years. Great cast and production values.

REASONS TO STAY: The violence and sexuality can get very intense. Doesn’t measure up to the original in several critical areas. Overly long.

FAMILY VALUES: There is some very disturbing content here, including graphic rape and torture. There is also plenty of nudity and sexuality and a surfeit of naughty words.

TRIVIAL PURSUIT: The piercings that Rooney Mara sports as Lisabeth Salander are real; none of them are cosmetically or digitally enhanced. Mara got them for the movie.

HOME OR THEATER: Some of the empty vistas of Northern Sweden seem best on the big screen but it might not be a bad thing to see this at home in front of a roaring fire on a cold night.

FINAL RATING: 7.5/10

TOMORROW: The Artist