“From the moment I was born I was destined for darkness” states Bi in the opening voiceover to “Furies”. The Furies were the ancient Greek goddesses of vengeance and so makes for an apt title for this feature that is a loose prequel to the 2019 film “Furie”. This time, star Veronica Ngo takes the directors chair and co stars in a bleak tale of revenge that goes in a different direction to it's predecessor. There has been a trend for villain origin stories but it's rare to see one in East Asian cinema, especially given the character it chooses to focus on. Given how Thang Soi made her living in the original, gaining empathy for such a character could prove a challenge.
After being raped by one of her mother's clients, a young Bi witnesses him attack and kill her. After stabbing him to death, she flees to the city where she survives through menial work and theft. A few years later, an older Bi (Dong Anh Quynh) encounters Jacqueline (Veronica Ngo) who takes her in. Bi learns that Jacqueline is out to get the “Big Four” headed by Hai (Thuan Nguyen) who control crime in the area, and kidnapping children into prostitution is one of their activities. She joins two of Jacqueline's other strays, Thanh (Toc Tien) and Hong (Rima Thanh Vy), to become the “Wild Daisies” and take out the gang under Jacqueline's instruction. One job proves unsuccessful leading to a breach of trust, as their benefactors' real reasons for their acts become known. The darkness they thought they had left behind soon threatens to envelop them once more.
“Furies” is a strange entity as it never seems entirely sure of it's own identity. The opening sequences are brutal and we are shown Bi's journey to the city. Her rape and subsequent death of her mother and rapist are shocking and the introduction of Jacqueline's character sets up the narrative as a feminist revenge tale. Something given more traction with “The Big Four” set up as representing the evil that men do. By the time we reach the final reel, this has all been turned on its head, with Jacqueline's motives revealed as less altruistic. It leaves the core of the story empty as the female family that has been set up is essentially an illusion. The audience has an empathy with the “Wild Daisies” but their connection is destroyed as the myth of sisterhood is shown to be a vehicle for power and control.
This really should come as no surprise given that throughout here, there are constant references to living in the darkness. This whole feature could subscribe to the philosophy from “The Dark Knight” where “You either die a hero, or live long enough to see yourself become the villain”. Bi's character arc indicates that we are heading towards some form of redemption and control of her destiny. Ultimately though, like any lead in noir, she becomes consumed by her fate.
This is a Greek tragedy by way of neo-noir with an action setting. The destruction of one family only to find comfort in a surrogate one, only to have that family destroyed from within. It makes the title even more fitting when considering the reference. The neo-noirish lighting is full of blues, reds and greens. It's an ugly, bleak world where life is cheap and the only value is wealth. Hai is a particularly odious creation. With the gold plated gun, flash attire and short fuse, he is every bit the live rich, die young gangster representation that we see so often. It's the treatment of women that only adds to this malevolence. It's what initially gives a clear line between both sides. The trafficking is used by Jacqueline to encourage her trio of avengers. The hindsight of knowing Bi's ultimate fate adds an element of pathos here as we know she will eventually become that what she hates.
Where the film gets confused though is in it's visual representation. The split screen that is frequently employed sets up the “Wild Daisies” as a darker side of “Charlie's Angels”. It's flashy filmmaking that feels out of place in the setting. It's as if there is another more lighter movie trying to break free of the darkness. The setting is the city's underbelly but the glossy look betrays the grittier element the movie is going for. The bonding of the trio has some softer moments but it is always underscored by the feeling that there's is an ill fated destiny. Hong, who has the brightest personality of the trio, wishes to start a new life with Long, an act that seasoned film watchers know that will end in tragedy. Some dodgy CGI also takes us out of the action at a crucial juncture. There were reports that the original release was delayed due to Ngo being unhappy with the finished project and it's this aspect that jars.
Rima Thanh Vy brings an energy to Hong that contrasts well to the brooding nature of the other two. Toc Tien has an intensity that plays into Thanh with Dong Anh Quynh gaining the most character development of the trio. She handles herself well in the action stakes but has an understated demeanor that serves the arc of Bi. All three impress in the physical aspects of their roles too, as along with Veronica Ngo they form an impressive quartet of action stars. The director\star has a terrific presence with a coolness that contrasts her desperate mother from the beginning The fights are brutal and well choreographed. We never lose sight that these are vicious people and there is no honor amongst them. Ngo has a good handle on the material and elicits strong performances. It's just the contrast between the style of the feature and the story it is trying to tell that conflicts against itself.
“Furies”, despite it's flaws, is an entertaining feature. The opening acts lead us into a tragic story that will be the foundation of the central villain in the original “Furie”. Get past the feeling that this is only an opening act and you have some solid acting and strong performances. Whilst the film itself at times gets confused as to what it actually wants to be, it delivers some excellent action sequences and shows promise for Veronica Ngo as a director. Worth checking out, just don't think too hard about it as you do.
