Code Of Honor - The Tyranny of Self Interest

Mar

9

Code Of Honor - The Tyranny of Self Interest

≡ Category: Action, Drama, Highly Recommended, Hong Kong, Martial Arts, Movie Reviews By Country |
≅ Written by: Michael Kydonieus

Country: United States
Genre: Action/ Drama/ Martial Arts
Director: Billy Chan
Year: 1987

Rating:

TRASH CINEMA HIGHLY RECOMMENDED MOVIE

Before we get started on Code Of Honor, I’d like to vent a little bit.

The state of Hong Kong film preservation is simply deplorable. For example, the best print Tai Seng could get for Code Of Honor was an old Ocean Shores dupe, which itself was a fullscreen copy of a videotape. This is for one of the better titles from the Golden Age of Hong Kong (1985-1995), and this situation is not at all uncommon.

End of rant.

Code Of Honor begins during the late 70s, in a Vietnamese refugee camp in Hong Kong. Triad bigwig Ho Chen Tung (O Chun-Hung), is being pursued by dozens of chopper wielding thugs through the crowded halls of the camp. It looks like his goose is cooked, until he has the good fortune to run into good Samaritan Han (Lam Wai). Ho Chen Tung is so grateful that he fronts the funds to Han to start a business and later gives him a blank check — literally.

After Ho Chen Tung’s brush with death, he decides to retire from active participation in the daily activities of the triad, moving into a supervisory role, where he watches over the activities of his lieutenants, Mad Piao (Shing Fui-On), Pao (Sunny Fang), and Yukuda (Yihara Shinichi).

But external pressures disturb this fragile equlibrium. The first factor is Ho Chen Tung’s son, Fai (Chow Yun-Fat), who has never quite forgiven his father for the death of his sister at the hands of chopper-wielding thugs. Fai seems ready to believe that his father has truly retired, and asks him to come live with him in Australia. The second force at work is policeman Mak Sir (Dick Wei), whose father was murdered by Ho Chen Tung many years before. Mak is determined to avenge his father, even if it means breaking the law and causing considerable collateral damage.

Ho Chen Tung’s lieutenants, contrary to his advice, have been involved in high-risk, high-profit ventures like drugs and gun-running, which has left them open to prosecution. When Mak has them arrested, will they remain loyal to their boss?

Code Of Honor methodically shows how, when self-interest is sufficiently threatened, airy-fairy concepts like honor are the first to get tossed overboard.

Director Billy Chan supports the grittiness of the scenario with run and gun handheld camera work, blunt editing, and brutal fight choreography (directed by King Lee King-Chue) that is practically indistinguishable from the real thing. This is not the Fred Astaire influenced fight choreography of Jackie Chan. There is little grace here, just animals fighting for survival.

There are several standout scenes of this type. In one, Wai (Shum Wai), one of the triad members, tries to rape Du Siu Lai (Chui Sau-Lai). Although Shum Wai’s leering is funny, as usual, the simulated rape attempt is hardly a laugh riot — it’s a barely stylized version of the real thing. I would be surprised if the actors weren’t black and blue the next day.

There are two or three fight scenes involving Lam Wai that take place in close quarters that are marvels of construction. The actors slam each other into walls and furniture and down staircases, all the while parrying blows.

Another highlight of Code Of Honor is a lengthy chase scene involving Lam Wai being chased by Dick Wei and dozens of cops through what looks like row-rent housing. High jumps, swift fights, and full out running are captured by hyper-alert cinematographer Cheung Tak-Wai. The chase sequence is beautifully structured, with numerous dramatic reversals, ending with a capper that made me laugh out loud. The only minor flaw is a bit of over-enthusiastic undercranking.

One of the most unusual things about Code of Honor is the lack of conventional heroes and villains. I guess you could say that Ho Chen Tung is depicted as being honorable, but you’re continually reminded that he did kill a policeman in the old days. Mak Sir may be a policeman, but he tortures suspects and is motivated by vengeance rather than justice. Even Han, who is loyal to Ho Chen Tung, is a cold-blooded murderer.

The rooting interest is uncertain. Do you want Mak Sir to catch up with Ho Chen Tung? It’s not clear cut. Director Billy Chan plays with your sympathies from one moment to the next. I didn’t want anyone to lose, really. That does wonders for increasing interest and suspense.

In keeping with the heightened documentary realism of Code Of Honor, the violence is raw, especially a scene in which Mad Piao metes out payback to a snitch.

The only thing that keeps Code Of Honor from being an absolute classic is a certain lumpy quality to the pacing, which keeps you aware that you are watching a movie. As great as individual scenes are, you are never drawn into the fictional world of the film completely.

Certainly you can’t blame the actors, who are all terrific. Lam Wai, O Chun-Hung, Dick Wei, Chui Sau-Lai, and Shum Wai all contribute intense work. You may wonder why I’ve barely mentioned Chow Yun-Fat. That’s because his role amounts to a glorified cameo. He was billed as the star of Code Of Honor to capitalize on his superstar status following the blowout success of A Better Tomorrow.

But never mind. Code Of Honor doesn’t need Chow Yun-Fat to succeed. It’s a very good triad drama, with a handful of superb individual sequences. Highly recommended.