A Chinese Odyssey Part I:
Pandora's Box
& A Chinese Odyssey Part II:
Cinderella
Reviewed by YTSL
At long last! And, no, that’s not the cry
I imagine issuing from Brian (and faithful others) upon my having written
my first review in some two months for brns.com!! Instead, it’s a reference
to this pair of 1995 movies -- which I think should be viewed, and also reviewed,
as one single, even if lengthy, offering (not least on account of the decision
to divide them into two appearing to have been more commercially- than logic-driven)
-- that I finally decided to sit down and watch in one go as well as back-to-back
having been among those works which I’ve long been urged to check out by
other Hong Kong cinemaphiles.
My reasons for having taken so long to get to A CHINESE ODYSSEY PART I: PANDORA’S
BOX and A CHINESE ODYSSEY PART II: CINDERELLA are three fold. Firstly,
as readers of my reviews of works that star Stephen Chow will know, I’m as
likely to have lukewarm as wildly positive reactions to those of them which
Sing Jai’s adoring fans have raved about (Cf. “Love on Delivery” and “Fight
Back to School” I and II). Secondly, I’ve had similar reactions to
the directorial plus scripted efforts of Jeff Lau. And for a third,
among my favorite reads as a kid were a 50-volume “Journey to the West” cartoon
series that made it so that, unlike many a Western fan of the pair of films
whose Chinese titles translate into “Journey to the West: Moonlight Treasure
Box” and "Journey to the West: Fairy Slipper Magic Encounter”, I could very
well imagine and love an alternative to Stephen Chow’s version of the legendary
Monkey God/King (and, for that matter, the one briefly essayed by Michelle
Yeoh in the opening scenes of “The Touch”!).
Consequently, part of me was expecting to be as upset by a thoroughly irreverent
fantasy adaptation of the classic tale that centers on a group of intrepid
religious voyagers and their journey to India -- which, lest we forget, does
lie to the west of China -- to obtain some holy Buddhist scriptures as many
fans of Jin Yong (AKA Louis Cha) had been by Jeff Lau’s good friend Wong
Kar Wai’s re-working of the famous author’s “The Eagle Shooting Heroes” into
“Ashes of Time”. Instead, and probably because Jeff Lau has re-fashioned
the story to such a large degree that the journey to the West really is not
the main subject of these two films which he scripted as well as helmed,
these A CHINESE ODYSSEY movies -- and in particular, the sheer inventiveness,
depth as well as breadth of emotion and verve manifest in them -- ended up
blowing me away and successfully sending me all the way up to Hong Kong movie
heaven!
Among other things, although Stephen Chow starts off A CHINESE ODYSSEY PART
I: PANDORA’S BOX in the near-unrecognizable as well as furry guise of the
Monkey King, he actually spends the bulk of this production essaying a bandit
chieftain known, appropriately enough, as Joker. As it so happens,
this mischievous mortal actually is the reincarnated Monkey King. However,
it’s not until after he has run-ins with, to put it mildly, interesting immortals
like the bitchy 30th Madam (AKA Spider Woman) (played by Yammie Nam), her
more sympathetic sister Jing-Jing (AKA Boney M according to the fractured
English subtitles) (portrayed by Karen Mok) and a less powerful personality
whose disguises include a bunch of grapes (essayed, when in human form, by
Jeff Lau himself!) that the impish fellow comes to realize that this is so.
Along the way, Joker finds out that Jing-Jing had been cheated in love by,
but continues to have feelings for, the Monkey King. To complicate
matters, he finds himself falling for her. And to really complicate
things, her jealous sister proceeds to poison Jing-Jing and make it so that
Joker will have to go back in time in order to save the woman he loves.
This he proceeds to do (with the aid of the “Pandora’s Box” mentioned in
the movie’s English title)...several times, in fact. Although many
of these attempts get played for laughs, there’s no mistaking Joker’s desperation
to achieve his goal and anguish each time that he fails to do so. Consequently,
it was with some relief that this (re)viewer greeted his finally successful
attempt to get far back enough in time to not see Jing-Jing dead again.
As it turns out, however, Joker ended up several hundred years further back
in time that he surely had wanted or could have imagined possible.
Fortunately, Jing-Jing’s already alive -- and actually quite fit and well
-- then. Less fortunately however, she’s initially no where in Joker’s
vicinity. Instead, the first female whom he encounters after his bout
of time traveling -- and in A CHINESE ODYSSEY PART II: CINDERELLA -- is the
elfin but no less capable Lin Zixia (charmingly portrayed by Athena Chu),
who actually also forms Buddha’s Lampwick (along with her wicked elder sister,
Lin Qingxia(!) (who’s also essayed by Athena Chu -- in the manner of Brigitte
Lin Ching-Hsia in “Ashes of Time” mixed with the actress whose name is spelt
in the Mainland Chinese favored style as Lin Qingxia in “Semi-Gods and Semi-Devils”
-- for the most part but later by Ada Choi too)).
In a move that can’t be all that unexpected, Joker proceeds to fall for the
adorable Zixia. Following this, even while there continue to be scenes
and goings-on that appear geared to tickle the funny-bone (including sly
allusions to Chin Han and Charlie Chin, the two men who formed a real-life
love triangle with Brigitte Lin for a time, along with a fine comic turn
by Law Kar Ying in his role as the distractingly voluble Longevity/Master
Monk), it’s increasingly hard to escape the notion that this pair of A CHINESE
ODYSSEY films are melancholic romantic tragedies -- that come complete with
regretful ruminations about timing, destiny and the indecisiveness of man
-- at heart. Consequently, these works’ various musical allusions to
“Ashes of Time” may be less of a satirical device and more of an initially
distracting, but ultimately clear, signaling of their having certain themes
in common with Wong Kar Wai’s desert epic (On a related note, it’s interesting
that a love triangle and Brigitte Lin figure too in “Dragon Inn”, the other
desert epic whose musical notes can be heard in these incredibly multi-layered
as well as -genre efforts).
In this context, I think it’s very much worth repeating that, in a discussion
about the A CHINESE ODYSSEY movies, Jeff Lau is on the record as stating
that: “I wanted to do what we couldn’t do well in “Ashes of Time”” (The HKIFF’s
“Hong Kong Panorama 2002-2003”, 2003:103). Likewise, I see some value
in underscoring that the following observation made about this unlikely soul
mate of Wong Kar Wai in the same publication could easily apply too to the
producer of “Dragon Inn” (the pre-1997 Tsui Hark), and Stephen Chow, the
director of such as the similarly tragic-comic “The King of Comedy” as well
as these cinematic gems’ star actor: I.e., “he can...make grand statements
and move people’s hearts with vulgar comedy and dialogue” (Bono Lee, 2003:125).
My rating for A CHINESE ODYSSEY PART I: PANDORA’S
BOX: 8
And for A CHINESE ODYSSEY PART II: CINDERELLA: 9