There was a time not so long ago when John Woo was action cinema. The prolific director was not only a revolutionary filmmaker in Hong Kong with his highly stylised and distinct movies, but he also had a major impact on the international scene. Countless contemporary directors have aped off Woo's style over the better part of forty years, yet no one quite lives up to the master himself. Revisiting one of the director's most beloved crime flicks, “A Better Tomorrow”, it's easy to see why he is still so revered today.
Ho (Ti Lung) and Mark (Chow Yun-Fat) are members of the criminal underworld and run a scam producing fake dollar bills to exchange with international buyers. Ho decides his life of crime is over after his dear younger brother, Kit (Leslie Cheung), becomes an inspector in the police force. However, a double-cross on his final job sees Ho imprisoned and personal tragedy strike his family. Now free and determined to lead a better life, Ho must battle against the crooks of the underworld trying to draw him back.
If this review were to be reduced to a single word, it would be ‘cool'. There are several throwaway shots scattered throughout “A Better Tomorrow” that epitomise this word better than Guy Ritchie other directors could ever hope to. An early shot of Mark, donned in a sharp suit and sunglasses, lighting his cigarette with flaming counterfeit cash is just one of many images that are etched into my brain. There's a swagger to the characters, both righteous and evil, that gives them a charismatic edge. Even Waise Lee's despicable Shing has a touch of charm that makes him as suave a villain as they come.
Woo understands that in order to care about the action, we first need to be invested in the characters and their plight. Fortunately, in between the shootouts and punch-ups, Mark, Ho, and Kit are all given just the right amount of development. Mark's fall from grace, Ho's redemption, and Kit's grudge all provide these characters with clear motivation as they come together against the underworld. The relationship between Mark and Ho is subtly fleshed out and incredibly heartfelt, leading to some surprisingly emotional confrontations. Having characters this likeable raises the stakes significantly, as you come to realise that you really don't want them to die.
Chow Yun-Fat has become a household name for many thanks to his magnetic onscreen presence over the years, and him teamed with Ti Lung makes for one hell of a duo. The two share incredible chemistry that fully sells their friendship and adds extra tension to later shootouts. Excellent also is the late Leslie Cheung, who, as the hot-tempered Kit, delivers some of the film's more emotionally raw moments.
However, the action is why many of us are here and oh boy, does it not disappoint. From tense hallway shootouts to explosive harbour showdowns, Woo delivers a variety of thrilling set pieces that are entirely distinct from one another. Extended shootouts can become tedious in many films, but with the variety of camera movements and stunts utilised by the director, even the longest gun-downs feel consistently fresh. Of course, any shootout will be enhanced when you have the indomitable Chow Yun-Fat at the centre. The uzi-spraying anti-hero reigns carnage upon all in his path, even with a busted leg.
The hallway showdown early in the film is the perfect example of how Woo can turn a straightforward action scene into something more artful. A simple revenge hit is transformed into a violent dance as a dual-wielding Mark paints the walls red with his plant pot pistols. Such a scene also goes to show just how effective slow-motion can be when it's not used in abundance.
The plot is nothing to rave about, but it's hardly the point. Simplicity is the key here as we're presented with a typical tale of underworld unruliness. It's refreshing to return to an action film that gives us just enough in terms of characters and story to keep it engaging, but not so much that it becomes bogged down in melodrama. In some instances, the blisteringly paced narrative and far-fetched action leaves the movie feeling a little fantastical, but what else is cinema if not an attempt to whisk us away with the impossible?
“A Better Tomorrow” delivers escapist action cinema in the purest sense. Woo understands how to take even the most implausible scenario and present it in a stylised and gripping fashion. An incredibly charismatic ensemble is the cherry on top of this high-octane, influential, and ice-cool flick that demonstrates Hong Kong action cinema at its finest. John Woo remains undefeated.
