Wong Ching-po has quickly shown himself to be high on ego and low on talents (isn't that a usual combination, come to think of it). "Fu Bo", his first and indie movie may very well turn out to be his career high point. In "Ah Sou" he tried to make a movie that is artsy and also has a message, and failed on both counts.
Indiscriminate use of camera tricks, such as occasionally turning the camera sideways, does not make an artsy movie. The movie needs to have a soul, which comes from good script and acting. It would have been better had Wong concentrated on making a commercially successful movie like directors Mak and Lau did with Infernal Affair. For some reason, he thinks that he is better than both of them put together and tried something that is entirely beyond the stuff he's got.
The message is that an innocent, loving girl can change the people (mostly gangsters) around her, if not the world. Nothing wrong with that. However, you need an actor that can carry it. Annie Liu, a refreshing new face, is quite competent in the sweet and cute department but beyond that is lost in front of the camera. A more experienced actor such as Angelica Lee might have saved the day.
The most watchable part of the movie falls on the four always dependable veterans Eric Tsang, Anthony Wong, Simon Yam and Alex Fing. I have not forgotten Lam Kar-yan I went to the movie to see her. What I found is that her role is even less than supporting, despite the promotion hype. And it's not for her anyway. Absolutely the best choice for a sweetheart role, Lam went just about as far as she could with tough roles in Koma, which she handled adequately. The underworld boss however is just a little too much for her. Bai Ling might have done a bit better. Then there is also talented Liu Ye, who is totally wasted here, cast with only one thing in mind the Mainland China box office. Looks like whoever did the casting was out to lunch.
The grand "finale" is a complete mess, both literally and figuratively. I know I shouldn't be discouraging attempts at new things, particularly when the movie industry in Hong Kong is stagnant almost beyond redemption. But whoever that makes such an attempt is expected to have some talent, for which shallow flashiness and arrogant rhetoric are no substitutes. Perhaps Master* Wong should reflect on that.
* not as in auteur but as in juvenile
Indiscriminate use of camera tricks, such as occasionally turning the camera sideways, does not make an artsy movie. The movie needs to have a soul, which comes from good script and acting. It would have been better had Wong concentrated on making a commercially successful movie like directors Mak and Lau did with Infernal Affair. For some reason, he thinks that he is better than both of them put together and tried something that is entirely beyond the stuff he's got.
The message is that an innocent, loving girl can change the people (mostly gangsters) around her, if not the world. Nothing wrong with that. However, you need an actor that can carry it. Annie Liu, a refreshing new face, is quite competent in the sweet and cute department but beyond that is lost in front of the camera. A more experienced actor such as Angelica Lee might have saved the day.
The most watchable part of the movie falls on the four always dependable veterans Eric Tsang, Anthony Wong, Simon Yam and Alex Fing. I have not forgotten Lam Kar-yan I went to the movie to see her. What I found is that her role is even less than supporting, despite the promotion hype. And it's not for her anyway. Absolutely the best choice for a sweetheart role, Lam went just about as far as she could with tough roles in Koma, which she handled adequately. The underworld boss however is just a little too much for her. Bai Ling might have done a bit better. Then there is also talented Liu Ye, who is totally wasted here, cast with only one thing in mind the Mainland China box office. Looks like whoever did the casting was out to lunch.
The grand "finale" is a complete mess, both literally and figuratively. I know I shouldn't be discouraging attempts at new things, particularly when the movie industry in Hong Kong is stagnant almost beyond redemption. But whoever that makes such an attempt is expected to have some talent, for which shallow flashiness and arrogant rhetoric are no substitutes. Perhaps Master* Wong should reflect on that.
* not as in auteur but as in juvenile