HONG KONG 1941 (Eureka)

Hong Kong 1941
(Eureka)
Originally Released Nov. 1st, 1984 
Written by Koon-Chung Chan
Directed by Po-Chih Leong
Starring Cecilia Yip, Chow Yun-Fat, Alex Man, Paul Chun, Wu Ma
Language: Cantonese (w/English subtitles) and optional English dub track

Buy it HERE from Eureka, HERE from MVD, or HERE from Diabolik

by "Doc" Hunter Bush, MJ Podcast Director

The Movie: Excellent

An action romance with epic aspirations but a much more intimate focus, Hong Kong 1941 gallops through set-ups and familiar story beats with a looseness that I really enjoyed. To be fair, there's a lot to set up: Yip (Chow Yun-Fat) comes to Hong Kong to stay with his very sweet aunt and decidedly salty uncle. He butts up against local tough guy Wong (Alex Man) and falls for the sickly but lovely local girl--who Wong is also, somewhat secretly enamored with--Nam (Cecilia Yip). The three of them are fast friends, and form a loose love triangle where everybody behaves themselves (mostly).

There's also some complications involving a local rice magnate who happens to be Nam's father who just fires his workers whenever they want to be paid fairly; a local crime boss / politician Chairman Liu (Wu Ma), and police sergeant Fa-wing (Paul Chun) who especially has it out for Wong. As interwoven as our three leads' lives are with each other, they're being equally dragged into confrontations with these outside obstacles and aggressors. As I said, there's a lot of track to lay before the film drops its biggest bomb: actual bombs.

The spine of this story is built around the Japanese occupation of Hong Kong during World War II. So on top of the ephemeral, emotional stakes are incredibly tangible, real-world hardships and danger. For what it's worth, I think the script, by Koon-Chung Chan, does an incredible job balancing these things. The war is never fully just a backdrop for the interpersonal drama, it's never allowed to feel commonplace. Scenes that are primarily about developing our leads' stories or characters also showcase actions of the invading Japanese army, from the comparatively innocuous--like rewarding children with food for singing in Japanese--to the outright hideous--hunting down and assaulting the local women.

The fact that Hong Kong 1941 manages to maintain an (overall) light feeling is truly impressive. The love triangle never feels overwrought, the violence and danger never feels excessive, and the whole thing works thanks to director Po-Chih Leong, editor Peter Cheung, and the performances of our leads. I've been a fan of Chow Yun-Fat for a long time. He just has an effortlessness to him that borders on cocky without, for me, ever tipping over the line. Both Alex Man and Cecilia Yip play extremely well off of him and each other, and you can really feel and understand that they all care for each other.

As a war movie, Hong Kong 1941 might be lacking in scope, but that was never its focus. While a war, which is a comparatively abstract concept, can most certainly be interesting, it's the people affected by it that make a story worth telling.

The Packaging: Excellent

Eureka Entertainment's cases are just a bit larger than your standard, closer to Criterion's, which is either nice, because it feels a bit sturdier, or annoying if you'd like all of your Blu-rays to be uniform. This one also comes with a cardboard slip and a reversible cover. The minimalist art on the slip--a hand holding a katana, with our three leads in miniature, standing on the tsuba (guard), in high contrast black and blood red on a deep orange background--is on one side of the cover, with a fantastic painted illustration of Yip, Wong, and certain key scenes on the other.

Also included is a booklet featuring an essay from Hong Kong and Chinese Cinema specialist Gary Bettinson about director Po-Chih Leong which gives a very solid overview of his career. If you've read any of my other Disc Dispatches, you'll know I love context. Additionally there are some wonderful photos from the production in the booklet.

The Audio + Video: Excellent

I thought this looked tremendous. The opening scene (maybe two?) had a slight peach tint to things that I wasn't crazy about. On one hand, it had the overall effect of a sepia filter in that it sort of helped sell the whole "this story takes place in the past" thing, but I was worried it would overstay its welcome. It doesn't, subtly fading to something cooler that makes the blues and greens in the costumes and locations pop and somehow feels more urgent and in-the-moment.

There's some film grain present, but it's a good amount; it lets you feel the movie, the weight of its history. Something I noticed near the end of the film that I found weirdly charming is that you can, occasionally, see the shadows of moths circling the set lights. Imperfections, if you even want to think of them as such, are proof that this was made by people, and through, I'm sure, no small amount of effort. I love that.

I noticed no issues with the audio at all. There is a certain distance to the sound that is era appropriate, but it's not nearly as noticeable as other films from this era. Whether this is the result of the filmmaking at the time, or any sort of restoration, I'm not sure. Regardless, everything came through very clearly, even at times when contrasting sounds--like a gentle score playing alongside the sounds of a boat engine--were present.

Special Features: Excellent

I won't pretend that every single piece of additional material on here was fascinating or enlightening, but much of it was. And there's just so much of it that I'm actually not sure where it was that I learned what became the background information I was most obsessed with: this was made because of Margaret Thatcher!

What I mean is (and forgive me if I'm getting details wrong): Thatcher bungled some deal or another which led to Britain losing their longstanding control of Hong Kong to the Chinese in 1984, which reminded many people (including filmmakers) of the Japanese invasion after Pearl Harbor in 1941. This film as well as a film called Love in a Fallen City (1984, dir. Ann Hui), both set in that era, were each released within the same year and, coincidentally, both star Chow Yun-Fat!

For reasons that I think should be obvious, I've been wondering about world history, the lessons we may or may not be learning from it, and the impact that has on people who just want to live their lives as peacefully as they are able. This gave me quite a lot to chew on.

• Tony Rayns on Hong Kong 1941 (30:29)
• Crossing Cultures with Po-Chih Leong (21:47)
• Po-Chih Leong on Hong Kong 1941 and Cultural Identity (recorded at East Film Fest 2023) (21:38)
• Archival Interviews
• Cecilia Yip 1 (29:09)
• Cecilia Yip 2 (4:23)
• Cecilia Yip 3 (11:33)
• Chow Yun-Fat 1 (13:13)
• Chow Yun-Fat 2 (5:33)
  
• Paul Chun (a.k.a. Paul Pui) (8:30)
• Hong Kong theatrical trailer (4:03)
• International release trailer (3:48)

• Included booklet with an essay from Gary Bettinson

In Summary: Buy it on sale

While I was knocked out by Hong Kong 1941, and I was, I admit that this type of film might not be for literally everyone. Sure, few films are, but some are, and it is for those that I'll reserve the absolute highest recommendation. As it stands, this is an incredibly strong offering. As a film, it's an excellent bit of historical melodrama. As a release this is incredibly rewarding, with plenty of additional materials to inform the production and its history. It's also the first time Hong Kong 1941 has been made available on Blu-ray outside of Asia.

This has some absolutely gorgeous moments, both visually and emotionally and I think anyone with an interest in Asian cinema would be well-served to have this on their shelves. 

STIR OF ECHOES steelbook (Lionsgate)

Stir of Echoes
Directed and written by David Koepp, based on the novel by Richard Matheson
Starring Kevin Bacon, Kathryn Erbe, Illeana Douglas, Kevin Dunn
Running time 1 hour and 39 minutes
Rated R by the MPA for violence, sexuality and language
On 4K, Blu-ray, and digital Dec. 10th from Lionsgate

by "Doc" Hunter Bush, Staff Writer and Podcast Director

Synopsis:

Tom Witzky (Kevin Bacon) is a blue-collar worker, a family man, the most ordinary guy in the world...who is about to be plunged into a shattering encounter with another world. And it doesn't matter that Tom doesn't believe in the supernatural. Because something supernatural has started to believe in Tom. After he is hypnotized at a neighborhood party, Tom changes. He sees things he can't explain and hears voices he can't ignore. As the horrific visions intensify, Tom realizes they are pieces of a puzzle, echoes of a crime calling out to be solved. But when his other-worldly nightmares begin coming true, Tom wants out. He desperately tries to rid himself of his eerie, unwanted powers - only to be seized by an irresistible compulsion to dig deeper and deeper into the mystery that is consuming his life. When at last he unearths the truth, it will draw him into the long-buried secret of a ghastly crime, a vengeful spirit...and the lethal price of laying that spirit to rest.

What Features Make it Special:

• Audio Commentary with Director David Koepp
• Visions of the Past: Re-visiting Stir of Echoes (2024 NEW featurette)
• Establishing Shot with Fred Murphy (2024 NEW featurette)
• Flipping the Switch: Directing Stir of Echoes
• Maggie's Memories: Inside Stir of Echoes
• Opening the Door: Designing Stir of Echoes
• Making of Stir of Echoes
• Sight of Spirits: Channeling the Paranormal
• Behind the Echoes
• The Mind's Eye: Beneath the Trance
• Special Effects
• Production Design
• Interviews with Cast and Crew
• Behind the Scenes
• Scene Comparisons
• Screen Tests
• Deleted Scenes
• Promotional Materials
• Breathe Original Music Video
• Theatrical Trailer

Why You Need to Add it to Your Media Library:

Beyond its solid pedigree-- based on a novel by genre legend Richard Matheson, with a stacked cast of talented character actors-- Stir of Echoes is an intimate portrait of growing madness, the dark heart of even the most serene neighborhood. From an effects standpoint, it relies mostly on the practical, with camera tricks and clever edits building an ever-present tension. It's not flashy, it's just a well-built thriller with some real chills and the exact right amount of supernaturality.

Confoundingly, even up into the last few years, it was rarely streamable until around the spooky season, making physical media a must. It's for that reason that I've held on to my original DVD-- with its silly plastic slipcover with black ...ectoplasm (?) on it--- for so long; I love introducing folks to this flick! Despite being reasonably well-received when it premiered, Stir of Echoes remains somewhat of an under-seen prize. The problem with Stir of Echoes is that it's a slow-build supernatural thriller that came out in 1999, but it isn't The Sixth Sense, so nobody really noticed.

And this version is ostensibly the best-looking one yet! In the Establishing Shot special feature, cinematographer Fred Murphy and 4K colorist Kostas Theodosiou detail the processes by which the 4K was constructed and fine-tuned, and it's very interesting if you're into the nitty-gritty of how these sorts of projects are accomplished. While both Murphy and Theodosiou are adamant about maintaining the spirit of the film, they're now able to fine-tune aspects that they weren't able to in the past; brightening one area of a scene, better balancing the lighting in between a shot and its reverse; things like that. The small tweaks the filmmakers wish they had the time and money for from the start. So make space on your shelf for this one, and watch it any time you like. Ghosts don't care what time of year it is so why should you?

Stir of Echoes is available on 4K, Blu-ray, and digital Dec. 10th from Lionsgate

Fantasia Fest 2021 - TOMBS OF THE BLIND DEAD (1972)

Fantasia Fest 2021
Tombs of the Blind Dead
Directed by Amando de Ossorio
Written by Jesús Navarro Carrión and Amando de Ossorio
Starring Lone Fleming, César Burner, María Elena Arpón
Running time 1 hour 41 minutes
Currently technically unrated but contains nudity and violence (including sexual assault)

By Hunter Bush

Tombs of the Blind Dead is... not a new movie. The first Italian horror film released in color in 1972 (1973 in the US, where it was edited to achieve a PG rating), it spawned a series of increasingly confusingly titled sequels: Return of the Blind Dead (1973), The Ghost Galleon (1974), and Night of the Seagulls (1975). The version playing at this year's Fantasia Fest is a restoration from Synapse Film, who plan to release a Blu-ray later this year with the original Italian/Spanish version, the edited US version and a third hybrid version that seems weird.

This restoration is absolutely gorgeous! I looked up some clips from the assorted earlier transfers and they look about what you'd expect for an unrestored horror flick released in 1972: washed out and grainy, while the audio sounded just as poor: tinny and decayed. The Synapse release, by contrast, has colors that are bright without seeming artificial, and sound that, with very few moments aside, is clear as a bell. So for those familiar with the flick, but maybe looking to upgrade whatever version they may have, I can't recommend this enough. If you've never seen Tombs however, rest assured that it's (largely) a really fun time.

When Virginia (María Elena Arpón) and Roger (César Burner) bump into Betty (Lone Fleming), an old friend of Virginia's, Roger invites her to join them on vacation. Roger's infatuation upsets Virginia since she and Betty previously had an experimental fling in school and Virginia sets off to hike alone and clear her head, spending the night in the church that happens to be the final resting place of the Blind Dead! As you may expect, things don't go great for her, but that's actually quite good for us watching!

The Blind Dead are very fun movie monsters. Depicted in a slight slow motion, their tattered robes flapping as they gallop on horseback, they're mostly silent and always underscored with a very light echo effect that adds a supernatural eeriness to them in a simple but highly effective way. They also have little desiccated skeletal t-rex arms which is pretty funny (also I'm pretty sure I saw one in the finale wearing what looked like a metallic oven mitt, lol).

The performances are fun, the gore is measured and the nudity is mostly very playful. There's a brief flashback to Virginia and Betty's dorm room fling that is, yes unnecessary cheap titillation, but ultimately very sweet? Is that weird to say? There's also obviously someone off camera simply blowing cigarette smoke past the lens to give the flashback a dreamlike, recollective quality and I found that a charming detail. Later when Virginia strips down before bed in the churchyard, she's filmed from the far side of her campfire, the flames obstructing our view of her Coppertone pale buns. Like I said, playful.

The movie loses me about 2/3 of the way through however. Virginia's ultimate fate is wrapped up (no spoilers here except to say that it takes place in a mannequin factory !!! and that rules) and, seemingly lacking direction, the film introduces two new characters as an excuse to explain some backstory. They also beef up the body count a bit, as any horrorhound would expect. Unfortunately they're also the catalyst for a sexual assault that serves no real purpose besides exploitation, which I understand - that was the name of the game at the time, but I just don't need it.

I'm not averse to that time of violence in a film If. It. Serves. A. Purpose. But this just doesn't. By comparison, Wes Craven's The Last House on the Left, released the same year, is a much more brutal viewing experience, but the act ultimately bothers me less because it matters and the film deals with it. In Tombs, the perpetrator isn't expressly punished and dies no more horrible a death than anyone else.

The film wraps up in a satisfying fashion - I'll never fail to enjoy filmmakers dripping blood on a cowering child - and with a banger of a sequel hook, but if you're interested in checking it off of some cinematic watchlist I just want you to be aware of what's in store for you. If you're still down, you could a lot worse than watching this restoration.

Tombs of the Blind Dead is screening at Fantasia Fest. Check showtimes HERE.

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