In cinema, we often talk about genres and sub genres that unfold from within them. Many debates ensue as some movies defy such pigeonholing and Hong Kong cinema delights in often mixing in as many as possible in one production to cause categorizing mayhem. “Casino Raiders” is one such enigma. Whilst on the surface part of the gambling film sub genre, there are elements of heroic bloodshed thrown in as well as traces of neo noir. When done wrong, this cocktail can be a problematic, lacking an identity as a whole, whilst failIng to succeed as either one thing or another. When it clicks, then you wonder why no one has tried it before. It's a line that is very hard to tread.
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In Hong Kong, there has always been a steady stream of gambling movies that fits within the ideology of wealth accumulation. From “Games Gamblers Play” to the recent “From Vegas to Macau” trilogy, its cinematic history is littered with gamblers blessed with almost supernatural powers akin to the martial heroes of old. The most famous of these undeniably was “God of Gamblers”, a true three ring circus act that veered from broad comedy, violent action and emotional drama. It is director Wong King, that most commercial of film makers and never one to miss out on a trend was quick to cash in with a flurry of sequels and imitators. “Casino Raiders” whilst undeniably one of these, is no mere copy.
It opens with Crab (Andy Lau) recently released from prison and getting drenched in the pouring rain. He's collected by BoBo (Rosamund Kwan) who takes him to a nightclub where he agrees to help the owner deal with a client that is causing a bit of trouble. Just as he is about to fleece his drunken mark, Sam (Alan Tam) slumbering at the side awakens from his own stupor to win the game. Shortly afterwards, it is revealed that they are in fact partners and the owner was the intended target. Sam takes Crab to America to assist in dealing with a casino that is experiencing losses due to professionals targeting them. Using their skills, they identify the culprits techniques and expose them as part of a Japanese crime syndicate. Before returning to Hong Kong, Sam falls in love with Koyan Tong (Idy Chan) a rich heiress. Once back however, things take a darker turn as the syndicate seeks revenge. Bloodshed, betrayal and vengeance ensue as the tale heads to its climactic gambling table climax.
As mentioned earlier, this production has the feel of a heroic bloodshed with gambling trappings. Brotherhood is much more to the fore with the central relationship being the loyalty between Crab and Sam. Both make big sacrifices at various junctures to save the other and the fatalism of this genre determines that their destinies are as ill fated as their choices. This relationship is the heart of the film and given life through two excellent central performances. Andy Lau has a typical for him role as the gambler with a heart. Bound by loyalty, his ultimate sacrifice is the dramatic highlight. A scene that is beautifully played and shot, setting up the bleak denouement at the finish. Alan Tam is slightly overshadowed at the start, beginning with a much lighter role, it's a performance that gradually develops a darker, more cynical edge that drives the final third. Vengeance is shown to have consequences as his revenge unfolds. Idy Chan and Rosamund Kwan have little to do within the narrative but play their roles well enough and Idy Chan gets the final dramatic beat to herself just before the final credits roll.
The supporting cast are carry overs from “God of Gamblers” and would be regular presences in the multitude of follow ups and is part of the fun spot to them. “Casino Raiders” is credited as a co-production by Jimmy Heung (brother of Charles Heung, another regular precence) and Wong Jing. It's surprising to see such a consistency in tone and look in the result. Wong Jing was notorious for often having several features on the go at the same time, so you do have to question who was responsible for the overall direction. Ever the commercialist, he never really had a distinctive visual style and would imitate others that were popular at the time. Jimmy Heung had only a limited directory career and the similarity visually to “God of Gamblers” does insinute his partner may have had more control.
The gambling elements are as you would expect in this sub genre. Gambling skills are like a martial art with exponents having almost supernatural ability. When Crab is crippled and loses his sleight of hand, it is just like a martial artist losing his ability in many of the old Kung Fu pictures. Sam by contrast is more cerebral, a more manipulative figure using his mind to set up the inevitable final twist that the genre convention dictates. Realism is not something to expect as these scenes are exaggerated. Take for example Sam's exposition about the syndicates set up at the casino, think for more than a few seconds and it just seems absurd. Twists and suspence are expected and this film certainly delivers.
Wong Jing was never one for quality and his productions were quickly produced to cash in on the current cinematic trend. The gambling sub genre was filled with knock offs at this time with many produced or directed by Wong Jing himself. This is a much more sincere product. Consistent in tone with a story arc that gradually darkens and with excellent performances that wield its various influences into a consistent whole. Certainly worthy of rediscover and an example of good commercial filmmaking and what Wong Jing was capable of putting together when focused.
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