Fruit Chan appeared in the Hong Kong cinema in the least expected moment (in the second half of the 90s) and in an unusual way for this cinematography (as an independent artist). The groundbreaking “Made in Hong Kong” was filmed on the leftovers of a film on which he assisted. The picture had no budget or stars, but it had something that was more and more often lacking in Hong Kong films – the soul and the furious energy of the vibrating city that was soon to be returned to China. The authenticity of “Made in Hong Kong” delighted audience, the film became a sensation and was sprinkled with prizes, which opened the way for Chan to further his career. His subsequent films show Hong Kong and its inhabitants at the threshold of great changes. Chan willingly and with great sentiment looks at people from the margin of society, also criminals. However, this is a much more intimate look at gangsters than the one his older colleagues such as John Woo and Ringo Lam got used audience to. (fragment of the text from the Five Flavours Asian Film Festival website)
With a few exceptions, the 10s were not exactly his best time, although films like “Three Husbands” still had a significant impact. His legacy, however, definitely remains and the masterpieces he shot in the 90s and 00s continue to be mentioned as landmarks of Hong Kong Cinema. We hope to finish the tribute this year, but until then, check what we managed to review so far.
1. Finale in Blood (1993)
However, it is the story of Fong Yan that steals the show, a tale of love, betrayal, but most of all vengeful jealousy, that has two women fighting for the love of a man who does not seem to care about anyone but himself. The dramatic essence of this arc that soon becomes violent is impressive in its presentation, with Chan drawing as much as possible from the excellent acting of his three actors, Ti Gwan Mei as Fong Yan, David Wu as Ma and Aoyama Chikako as the prostitute. The way the story builds up to the inevitable confrontation and the tragic ending is impressive, with the sequence with Fong Yan’s death being the most memorable in the film. (Panos Kotzathanasis)
2. Made in Hong Kong (1997)
Fruit Chan directs and pens a film that begins as an effort to portray, realistically, the lives of delinquents and small time triad members, but is soon swamped in a permeating nihilism which induces it with a punk essence that seems to fit its visual style to perfection. In that setting, almost everybody is a victim, with the fact presented quite eloquently in the film’s finale. However, this does not mean that Chan allows us to feel sorry for the characters, apart from very few exceptions, since everyone is filled with faults and willing to go to extremes to achieve his goals. At the same time, Chan seems to put the blame for the faults of the new generations to the previous one, who do not seem to know what to do with their children, thus abandoning them. (Panos Kotzathanasis)
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3. The Longest Summer (1998)
Fruit Chan ‘s sophomore work after the acclaimed and unique “Made in Hong Kong” is a film that shares similar social concerns and same poignancy and relevance with the previous one, but it speaks a less “arty” language and is set in a very precise place and time. The long Hong Kong season of the title is the summer 1997 that started with the dismissal of the Hong Kong Military Service Corps, followed by the official Handover Ceremony on the 1st of July and – on the morning after – the rapid deployment of the People’s Liberation army troops. (Adriana Rosati)
4. Little Cheung (1999)
The movie leaves space to the characters, giving them an opportunity to breathe and introducing the scenes often with a prelude. This helps the viewer to dive into the atmosphere of the sequence before the plot actually kicks in. There is time to look at the environment, the setting and the way people interact on a daily basis. As a result, “Little Cheung” seems authentic and natural. (Alexander Knoth)
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5. Durian Durian (2000)
Playing with contrasts, metaphors and docu-style observations, “Durian Durian” is yet another significant tile in the larger “Hong Kong mosaic” that Chan’s films of the post-handover years, have created. After the marginalized youth of “Made in Hong Kong”, the destructive path of the left behind in “The Longest Summer” and the family and community’s economic dynamics in “Little Cheung”, with “Durian Durian” the director goes beyond the subject matter of the the increasing phenomenon of Chinese immigrants working as prostitutes in Hong Kong, to observe the fragile equilibrium between Hong Kong and China, from the perspective of a specific class, and how the social reality translates from one side to the other. (Adriana Rosati)
6. Hollywood Hong Kong (2001)
In this case, we have a whole family of butchers among the main protagonists. In the colorful alleys of Tai Hom we meet the Chu family, consisting of dad, Mr Chu (Glen Chin) and his two sons, the eldest, adolescent Ming (Ho Sai Man) and the boy Tiny (Leung Sze Ping). The Chus look straight out of a freakish fairy tale; pig butchers by trade, all males, all very plump and sweaty and all seemingly happy. They live and work in the restricted space offered by the slums and – as if this wasn’t enough – they share their home with a huge breeding sow called Mama who is fed (like the owners) roast pork and beer. After spending their days roasting, basting and chopping, they then sell their succulent products at a market stall. (Adriana Rosati)
7. Public Toilet (2002)
“Public Toilet” understandably will meet with mixed reactions, as it exemplifies a film whose strengths to some, will be faults to others. The structure , which at first deterred me, soon began to transition into an enjoyable experience, perhaps in the same way as a bowel movement (Marking the only scatological comparison I will make, which was hard not to indulge in). “Public Toilet” will be an act of patience for most viewers. However, to those willing to stick around and overcome the crude nature of the subject matter, the film presents some resonating dialogue and superb visual presentation. (Adam Symchuk)
8. Three Extremes (segment: Dumplings, 2004)
Apart from the contextual aspect, “Dumplings” also thrives on aesthetics. Christopher Doyle does an excellent job in the cinematography, equally capturing Bai-ling’s (who also gives a great performance as Aunt Mei) permeating sensualism, the horribleness of the in-house abortion and its aftermath, and the dreadfulness of eating unborn babies. In that last regard, the film benefits the most by the use of sound, particularly in the eating scenes, which are horrendous most of the time, while Kwong Wing Chan’s music and particularly those ominous few notes will definitely stay on mind. (Panos Kotzathanasis)
9. Dumplings (2004)
There in Hong Kong it’s said, Aunt Mei makes the most delicious dumplings. Her recipe a mystery, its efficacy an established fact, and its results a cause widely sought after. Eternal youth and beauty so long as money is put into Aunt Mei’s hands. A handsome deal for well-to-do Hongkongers. And so, having lost her wealthy, 50-something husband’s affections to a much younger masseuse, a retired actress – Miss Lee – reluctantly ventures into Aunt Mei’s residence to have a taste of her dumplings. As ingredients readily in supply yield insignificant changes to her look, Miss Lee presses Aunt Mei for a more efficacious antidote to her aging, losing her grip on reality and moral codes in so doing. Stripped bare of its glorious facade in this tale of loosening morals and carnal desires, Hong Kong unfolds with sordid social ills of the worst kind. Clearly not something the unassuming title of “Dumplings” would prepare viewers for. (Amseluu)
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10. Don’t Look Up (2009)
Overall, ‘Don’t Look Up‘ was pretty enjoyable if a wholly disappointing effort. This one really tends to get going with the rather enjoyable and exciting back-story detailing the effects of the gypsy curse and revelations about the early film. It’s quite the creepy story that would’ve made for a rather enjoyable movie had it ever been filmed. This makes the filming of these scenes quite enjoyable as there’s a fine sense of atmosphere displayed there during these scenes when looking back at them through the cameras, which makes many of these accidents quite thrilling. (Don Anelli)
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