Groups and Collectives:
Uniforms
“With a soldier’s hat and uniform, I look
so great.” (“Velvet Gloves”)
Some action films emphasize collective roles,
frequently defined by uniforms. Several HK women’s prison films fit
this mold. Recent titles (“Women’s Prison,” 1988; “The First Time
Is The Last Time,” 1989; “Women’s Internment Camp 93,” 1993) feature some
accomplished cast members (Pat Ha, Carrie Ng, Ha Chi-chun) and proficient
individual acting performances. However much these films attempt
to portray dignity in the face of injustice, the prison context is both
controlling and dehumanizing. Largely stripped of their individual
identities, the female protagonists are depicted in ways that may be degrading
or invasive. There is action, but it is frequently in the form of
chaotic violence between inmates. Ha Chi-chun and her partners do
at least escape from a Mainland prison wearing stolen guard uniforms (“Women’s
Internment Camp 93”). One film, “Never Say Regret” (1990), also features
an extended Mainland prison sequence, but is definitely an actioner in
which Yukari Oshima and Kara Hui are sprung amidst violent combat.
Superficially, paramilitary themed films might
seem to represent a polar opposite. Yet in many ways, the role of
uniform both in military and prison contexts is to submerge individuality
into a collective and promote conformity. Paramilitary themes in
action films include a number starring Yukari Oshima (“Final Run,” 1989;
“Mission of Justice,” 1992; “The Golden Nightmare,” 1998), Moon Lee (“Devil
Hunters,” “Killer Angels,” “Angel Force”), Jade Leung (“Velvet Gloves”,
“Enemy Shadow”). Unlike Ha Chi-chun’s strikingly turned-out super-soldier
“Jensy” in “Final Run,” the primary function of paramilitary combat clothing
is to focus attention on the action – not the person. So, while it
is evident that when Lee, Oshima or Leung are turned out in combat clothing
they will fight – it may be less clear why they fight. Some possible
pretexts involve political allegiance (e.g., Joyce Godenzi and Ha Chi-chun
as guerilla fighters in supporting roles in “Eastern Condors,” 1987), family
loyalty or simply commercial interest (e.g., Sibelle Hu as a military officer
and Moon Lee as a foreign business tycoon in “Bury Me High”).
