The Odd One Dies (1997: Patrick Yau Tat-chi: Hong Kong)

[masterofoneinchpunch]

I spent way too long on this, but rewrote and added several hundred words since posting in the last movie watched thread. Some possible spoilers.

The Odd One Dies (1997: Patrick Yau Tat-chi: Hong Kong): ***½/****

Analogous to Expect The Unexpected (1998) and The Longest Nite (1998) Patrick Yau is the nominal director in The Odd One Dies but did not do the majority of directing (though Yau has stated of those three films he had the most input with this one). The uncredited director is Johnnie To, whose production company is Milkyway Image with Wai Ka-Fai who wrote the screenplay, that was the force behind the film. Aside from those three films (which I have seen) Patrick was credited to one more film The Loser's Club (2001; which I have not seen) and apparently his film career has been over since then. However, when watching the movie it is easy to see many familiar elements of To including genre (shashou pian: professional killer genre), incorporation of black humor and Lam Suet.

Takeshi Kaneshiro is a laconic street thug called Mo who is either on a death wish or just does not care. I see a bit of this character in Louis Koo's performance in Throw Down (2004), but when you watch this it is hard not to think of Takeshi's two previous Wong Kar-wai* roles (Chungking Express (1994), Fallen Angels (1995)) as well. Takashi after losing much money in gambling decides to take on a hired killer role for 88,000 HK dollars cash. First he gets himself an old large mobile phone, sunglasses, chain, watch, used car with a capricious bumper and a jacket. How he gets those items is quite hilarious. Since he is hell-bent, or just does not care, he gambles a good portion of that money away as well. He loses thousands after thousands, doubling his bet every time with a local card shark named George (Lee Diy-yue), without as much as a wince when he loses. But then the strangest thing happens, he starts to win and he wins big. Then he decides to hire someone else to do the killing.

The newly hired killer is, much to his surprise, a female (Carman Lee Yeuk-tung) who is just out of jail from a previous man-slaughter case (she killed her cousin for her boyfriend/Uncle Simon (singer Ken Choi Fung-Wa, 蔡楓華); though I am not sure if I am correct -- I believe she killed the infant she had with him when she was 14) and she is just as laconic and nuts as he is. They both smoke quite a lot and almost appear to be Doppelganger's of each other.** However, she is malodorous and unkempt. They, of course, become attached to each other. Now what is he going to do about the hit?

I had a lot of fun watching this movie. I had so much merriment that I did the rare thing and watched it twice within a week which I had not done with another film in years. There is a peculiar comedic style to this that is dark, but still quite bloody good (literally). This includes a recurring fingers dismemberment joke when the Triad character Tony (Korean actor Byun Woo-min, 변우민) catches a knife from both Takeshi and later Carman is brutally hilarious but also leads to a strong scene of redemption at the end. The direction is also quite quirky. You get a great look of Hong Kong in this film which is another trademark of many of Johnnie To's work. There is an excellent scene of Takeshi running around a busy area crossing one street after another. He is almost hit several times and it is great to see the passerby expression (many of these movies will be filmed with many people not knowing they are being filmed). All filmed with no or very few cuts. In fact it is quite reminiscent to a similar scene in Police Story 2 with Jackie Chan but with better results for Takeshi.

I really wish these early Milkyway films like this one, The Longest Nite (1998) and The Mission (1999) would get more recognition especially amongst more mainstream critics who tend to eschew anything Hong Kong that is not Wong Kar-wai. This has been slowly changing over the years with Stephen Teo's book on Johnnie To as well as David Bordwell adding a section on To in his updated Planet Hong Kong (online only). But as a fan of these movies such as this one it still is not enough. I know fans of Johnnie To and Hong Kong crime films will enjoy this, but this is a good film for people who are not familiar with those to start with.

This DVD is not the easiest film to get a hold of as there is no R1 edition out there or any non-OOP version anywhere. Luckily there have been a decent amount of used copies available from a Mei Ah R0 1997(?) release though it is now OOP. It looks exactly like a LD port and I have read that some copies do not necessarily work on all DVD players. Thank goodness mine did. There are no extras unfortunately. There are Chinese and English subtitles (surprisingly decent subtitles) and Cantonese and Mandarin language tracks. This film is desperately in need of an update and rerelease.

* Johnnie To has stated that in an interview with Stephen Teo: "we didn't deliberately set out to copy Wong Kar-wai. I don't copy other people's stuff. The film is about loneliness and it's possible that it shows a tendency to Wong Kar-wai." Interestingly enough Stephen Teo does make note of several similarities between Wong's films and this movie in his book Director in Action (2007). My own personal opinion is that the biggest similarity is Takeshi Kaneshiro's performance. While some have stated the cinematography resembles Wong's work, I feel it is just because of the use of hand-held and overuse of canted angles (possibly more of them then in The Third Man (1949)). The issue of expiring time is familiar (Chungking Express) but I feel that is prevalent of Hong Kong cinema as a whole since the handover was to happen a little over a month after the release of this film. Plus one of the strongest thematic elements for Wong's oeuvre the ever-present “unrequited love” is missing from this film.

** The Doppelganger is another recurrent theme in To's films as well as the use of motifs. When watching this movie look for a massive amount of scenarios repeated for a second time or third time. The last time the scenario happens it signals a change. For example, when Takeshi meets Simon for the second time he beats him up. When Carmen sees him she fantasizes about killing him, but leaves him without doing anything. When Takeshi tries to stab the Triad member for the third time (Carmen did it the second time), he does not go through with the motion to remove his fingers and ultimately receives the forgiveness of him. Takeshi apologizes to George the third time they meet. There are many more throughout the film sometimes with the Doppelganger taking the place of the protagonist.

[mpm74]

Funny you posted this review. It was just a couple of days ago I was searching a for copy of this movie. YEARS ago I had bought the DVD version you mentioned at a Tower Records for like $40! I even owned the book you mentioned.

I'm a HUGE fan of the Milkyway Films (particularly mid-late 90's films, again, the ones you mentioned). My favorite out of them all are A HERO NEVER DIES (dig the soundtrack).

Like you said, these films often get ignored; in my opinion, these series of films are one of Hong Kong Cinema's greatest moments... possibly the last of its greatest moments.

Those were the days.

Looking forward to the new Johnny To/Lau Ching Wan flick...

[DiP]

I must say that your in-depth approach to your reviews is always a treat. Keep it up.

Years has passed by and it still impresses me that Johnnie To hasn't shown any sign of decline and on the contrary is evolving and getting better at his game as his body of work just broadens as it goes further on. His new batch of movies (Life Without Principle, Punished and Motorway) look very promising.

[Rhythm-X]

Funny you posted this review. It was just a couple of days ago I was searching a for copy of this movie. YEARS ago I had bought the DVD version you mentioned at a Tower Records for like $40! I even owned the book you mentioned.

I'm a HUGE fan of the Milkyway Films (particularly mid-late 90's films, again, the ones you mentioned). My favorite out of them all are A HERO NEVER DIES (dig the soundtrack).

Like you said, these films often get ignored; in my opinion, these series of films are one of Hong Kong Cinema's greatest moments... possibly the last of its greatest moments.

Those were the days.

Looking forward to the new Johnny To/Lau Ching Wan flick...

I paid way too much for this DVD at Tower, too. It was surprisingly competent for an 1990s Mei Ah disc. It even has removable subtitles.

A reissue may be imminent - this film went to Fortune Star as part of a package of films previously released by Mei Ah. Those titles are beginning to emerge - that's where the new releases of things like LOVE ON A DIET and FORBIDDEN CITY COP are coming from.

Incomplete list of titles here. The most surprising inclusion in that linked PDF is probably Milkyway's first film BEYOND HYPOTHERMIA, long missing in its uncut and undubbed version.

[masterofoneinchpunch]

... It was just a couple of days ago I was searching a for copy of this movie. YEARS ago I had bought the DVD version you mentioned at a Tower Records for like $40! I even owned the book you mentioned.

I'm a HUGE fan of the Milkyway Films (particularly mid-late 90's films, again, the ones you mentioned). My favorite out of them all are A HERO NEVER DIES (dig the soundtrack).

...

While a reissue is hopefully coming soon, you can pick up the used copy from Amazon or Ebay for relatively cheap. What is weird is that for awhile it was quite expensive, but then recently the prices went down and that is how I got a copy. I still need to see A HERO NEVER DIES (I bought it a few weeks ago; but I have heard great things about it), but I might see WU YEN first to get that over with (any opinions on that one?).

The Stephen Teo book is good, but even by his own admittance he does miss quite a bit of To's early works. While To was more of a commerical director then I can still see many traits then that transfer to his later work. As I wrote David Bordwell there is still room for much more on To (well I then went off into we need more Shaw Brothers books in English, but that's a different thread).

I must say that your in-depth approach to your reviews is always a treat. Keep it up.

Years has passed by and it still impresses me that Johnnie To hasn't shown any sign of decline and on the contrary is evolving and getting better at his game as his body of work just broadens as it goes further on. His new batch of movies (Life Without Principle, Punished and Motorway) look very promising.

Much appreciation for the kudos. I'm certainly looking forward to his latest films. I agree I think he is only getting better.

...Incomplete list of titles here. The most surprising inclusion in that linked PDF is probably Milkyway's first film BEYOND HYPOTHERMIA, long missing in its uncut and undubbed version.

Looking forward to seeing a longer and undubbed version of BEYOND HYPOTHERMIA.

Thanks for the comments everyone. Glad to see more To/Milkyway fans out there.

For those interested I keep a Johnnie To thread at my co-site (Criterion): here. I have all my capsule and full length reviews of To films there (Sparrow, Triangle), plus some other comments, Johnnie To's top 10 Criterion films, a more complete filmography than HKMDB and links to interviews etc...

Note on the essay: it is weird that many sites just do not have much information on the film including HKMDB and HKFA. It took me awhile to figure out the Korean star and the characters names (usually just said once or twice during the whole film; though the DVD box does state Mo as the characters name for Takeshi Kaneshiro and his name is said at least once in the movie -- too many reviews state him as nameless, I even did it the first draft I wrote).

[Rhythm-X]

A HERO NEVER DIES is awesome. Pity that there's apparently no hope of a reissue for it or the other two Milkyway titles distributed by the Film City company - LONGEST NITE and EXPECT THE UNEXPECTED - thanks to rights issues. The long-OOP Universe DVDs for the Film City titles are pure shit. And of course since TOO MANY WAYS TO BE NO. 1 was released by Golden Harvest in 1997, it's now stuck at WB, never to be seen again.

The lack of a US release for SPARROW is one of the most incomprehensible oversights in recent Asian film distribution here since the Weinsteins opted to release ROYAL TRAMP while keeping GOD OF COOKERY on the shelf where it remains to this day. If it wasn't for the damned NO DOGS OR CHINESE sign they keep over their gate, SPARROW'd be a no brainer for Criterion to put out.

[mpm74]

And of course since TOO MANY WAYS TO BE NO. 1 was released by Golden Harvest in 1997, it's now stuck at WB, never to be seen again.

Warner Bros?? Are you serious?

A HERO NEVER DIES... pure gold.

[masterofoneinchpunch]

...

The lack of a US release for SPARROW is one of the most incomprehensible oversights in recent Asian film distribution here since the Weinsteins opted to release ROYAL TRAMP while keeping GOD OF COOKERY on the shelf where it remains to this day. If it wasn't for the damned NO DOGS OR CHINESE sign they keep over their gate, SPARROW'd be a no brainer for Criterion to put out.

Well Tai Seng does put out the R1 release available at Amazon here. Notice I'm the only reviewer . But then again I'm a big fan of the film.

I've bugged Criterion about putting out more HK/Taiwan/Mainland features for years. Other than another Edward Yang coming out for them I always get a "not yet" response or a "no". Not one Zhang Yimou, yikes.

I think you mean their NO ANIME OR CHINESE sign for Criterion (they are still weak in the Silent department as well).

[DiP]

For To/Milkyway fans living in the UK, Sparrow will get a theatrical release through Terracotta Distribution.

http://terracottadistribution.com/blog/2010/11/terracotta-distribution-acquires-johnnie-tos-sparrow-and-oxide-pangs-the-detective

http://twitchfilm.com/news/2010/11/terracotta-distribution-picks-up-johnnie-tos-sparrow-and-oxide-pangs-the-detective-for-uk.php

[Rhythm-X]

doublepost

[Rhythm-X]

Warner Bros?? Are you serious?

It's on the list, number 147.

Well Tai Seng does put out the R1 release available at Amazon here. Notice I'm the only reviewer . But then again I'm a big fan of the film.

I've bugged Criterion about putting out more HK/Taiwan/Mainland features for years. Other than another Edward Yang coming out for them I always get a "not yet" response or a "no". Not one Zhang Yimou, yikes.

I think you mean their NO ANIME OR CHINESE sign for Criterion (they are still weak in the Silent department as well).

No anime, Chinese, Koreans, Thai... that Edward Yang film was a Japanese co-production, and I assume they think Wong Kar-wai is French.

[masterofoneinchpunch]

...No anime, Chinese, Koreans, Thai... that Edward Yang film was a Japanese co-production, and I assume they think Wong Kar-wai is French.

Now to be fair I am a huge Criterion fan (I have over 400; admin/co-owner of a Criterion forum etc...) but I always feel that they still should be critized where there are faults such as this.

The next Edward Yang that will eventually be out on Criterion is: A Brighter Summer Day.

The only Thai director I see coming up on Criterion would be Apichatpong Weerasethakul who currently is the darling of the cinema critic world right now.

Back to this film I have read several reviews that state the Godard influence (whether it is direct or via the influence from Wong Kar-wai), but I really don't feel it as much with this film. Now I'm not the biggest Godard fan, but I have seen quite a lot of his films. What do you guys think of this? Is it just reviewers trying to make a point that is not quite there, or is there something I am missing?

[mpm74]

Is it just reviewers trying to make a point that is not quite there, or is there something I am missing?

They probably just read it on someone else's review and recycled it. I see that a lot on many reviews, info just carried over from one piece to the next. Heck, I'm guilty of it too...