Here is an interesting poser. The template of a cinematic movement often results in imitation. So if you see the imitators first then does that affect your opinion of the original given it then loses some of its freshness? How best then to look at “City War”? Is it best to have seen the original heroic bloodsheds that came before it or does that in turn mean there will be an automatic comparison. Welcome to the Hobson's choice of reviewing. Separating a movie from its peers to look at it on its own terms. With “A Better Tomorrow”, we got the template for all heroic bloodshed features to follow. So in theory comparisons are inevitable especially when casting Ti Lung and Chow Yun-fat. Does it stand on its own merits or make you wish you'd started watching the original again?
Ken (Ti Lung) chases after some shoplifters only for one to take a pregnant woman hostage. Negotiator Chiu (Chow Yun-fat) is called in and the situation is resolved but not without difficulty. Relaxing in a bar afterwards, Chiu flirts with Penny (Tien Niu) and there is an instant attraction. Tat (Tsiu Siu-keung) is released from prison and it is revealed that he is involved with Penny and that Ken was responsible for his incarceration. As Tat plots revenge, Chiu tries to avoid Ken, getting into trouble through his rash actions. Eventually though, tragedy occurs and the characters must face their destiny in a climactic shoot out where few if any may survive.
The introduction of Penny is an intriguing way of setting up her role as an inadvertent femme fatale. Her rendition of a reworking of a number from Bizet's “Carmen” signifies her luring of Chiu, even if unintended. Carmen brings down the officer in the opera and her involvement with Tat is a love triangle that will ultimately lead to tragedy. Tien Niu gives a performance far removed from her earlier Shaw Brothers ingenue days. Seductive, flirtatious and unable to break free of the circumstances she finds herself in.
Ti Lung plays against type here, as the more hot headed of the two leads. Usually the cool, calm persona on-screen, instead we get a more abrasive portrayal. Whilst the aggressive, anti-authority cop that resorts to vigilante action is a cliche, there is an intensity in the portrayal that lifts it above the standard. Chow Yun-fat essentially plays the role of charismatic man of action that we come to expect. Except there are a few wrinkles this time to add some depth. His Chiu is a more reluctant hero. His introduction sets him up as the smooth talking negotiator only to undercut him at the end. Throughout, he tries to avoid confrontation only for events to conspire, causing him to become the gun wielding avenger that audiences would expect. It's a more rounded performance, stripping away the “cool” to reveal a more conflicted individual. Tsiu Siu-keung is in full glare at the screen psychotic villain mode as Tat. In true Hong Kong fashion there is a bit of crudity due to his penis being shot by Ken in the events that trigger his revenge.
Tonal wise it is fairly consistent. Starting fairly light, the tone gradually darkens as the narrative unfolds and the body count starts to rise in the last third. There is little in visual flair to make it stand out from the crowd but the action, when it kicks in, is suitably taut and bloody. The confrontation between Ken and Robin Shou's assassin is shot in close up, adding to the intensity of the scene. This is not a classic martial arts duel, instead a vicious clash made more impactful through its lack of stylistic polish. Sun Chung directed numerous movies at Shaw Brothers and is a competent hand again here. Allowing the action to be front and centre without going overboard on the almost requisite slow motion.
Indeed it's the lack of slickness that makes “City War” one of the more enjoyable of the Heroic Bloodshed imitators that resulted from “A Better Tomorrow”. The theme of brotherhood feels less forced in the relationship between Ken and Chiu. Vengeance is shown to be the only solution, with the police sergeant only interested in promotion and the law being used by Tat as part of his revenge. The actions then come across as less contrived and easier to understand for less frequent watchers of Hong Kong cinema, where loyalty is considered above all else even if leads to destruction.
Ken and Chiu are polar opposites of the roles played by Ti Lung and Chow Yun-fat in “A Better Tomorrow” so ultimatly comparisons are unfair. This production sets out to create its own identity and is better for it. Make no mistake it's not a classic by any means but is a fully entertaining slice of 80's action and worthy of watching.
