On The Run - Brutal Hong Kong Classic

Mar

1

On The Run - Brutal Hong Kong Classic

≡ Category: Action, Drama, Essential, Hong Kong, Movie Reviews By Country |
≅ Written by: Michael Kydonieus

Country: Hong Kong
Genre: Action/Drama
Director: Alfred Cheung
Year: 1988

Rating:

TRASH CINEMA ESSENTIAL MOVIE

On the Run is the sort of flick that made me fall in love with Hong Kong movies in the first place — a brutal cheapie that was probably shot in three weeks for the budget of a Hollywood star’s hairstylist for their pet chihuahua.

Officer Heung Ming (Yuen Biao) has a big problem. He’s being hunted by crooked cops moonlighting as drug runners. Helping out Heung Ming is Chui (Pat Ha), a Thai hitwoman who was hired by the crooked cops and then betrayed.

I should probably point out that there is a heavily political subtext to On The Run. The cops turned crooked because they wanted to amass a fortune before the 1997 turnover of Hong Kong to the Communist Chinese. Heung Ming is hoping to emmigrate to America before the turnover. The 1997 turnover is the engine of the entire plot.

On The Run is a brutal, efficient piece of work. The jeopardy is near constant, with plenty of close quarters gun battles, which tend to feature head shots. Refreshingly, the heroes aren’t bulletproof. Poor Heung Ming gets shot several times during the story. In fact, considering that he’s a cop, it’s kind of funny that a hitwoman ends up protecting him and his daughter (the adorable Chan Cheuk-Yan). Really, no one is spared. You really don’t know who is going to be alive by the closing credits. In fact, the filmmakers end the film with a perversely bleak postscript.

Reading the credits, I was surprised to note that On The Run was directed by Alfred Cheung, who mostly made light comedies. There’s nothing in his resume that would lead me to expect he could pull off a hardcore action movie like On The Run.

The chief villain, Superintendent Lui (Charlie Chin), is rather unusual. Chin plays him as a worried bureaucrat, scheming to cover up his misdeeds. By the climax, Superintendent Lui surface sanity is revealed to be a sham — he’s every bit as whacked out as the most bloodthirsty triad boss. I’m not sure I agree with Chin’s approach to the role, but it’s undeniably interesting.

Heung Ming has to be one of Yuen Biao’s best roles. His anger, fright, confusion, and grief all feel immediate and real, although pumped up to operatic levels.

Pat Ha, who portrays the assassin from Thailand, is another story. Although her actions seem ice cold at times, she has an odd surface placidity, and appears to have empathy for Heung Ming and his daughter. It’s strange, but I believe it. She’s the kind of person who can compartmentalize her emotions, commit inhuman acts and still function as a normal human being. Heung Ming seems to intuitively understand this and forgive her. As a Westerner, it’s hard to wrap my mind around, but I accept it.

On the Run also has a number of strong character actors along for the ride, like Lee Heung-Kam, Lo Lieh, Yuen Wah, and Phillip Ko.

But, readers of Trash Cinema Club want to know, how’s the action? Well, the stunt coordinator is Sammo Hung, if that tells you anything. There aren’t a great deal of extended action sequences in On The Run, but what there is is choice. There’s a stunt involving a piece of bamboo and a telephone pole that’s completely classic. The end fight is outrageously entertaining, with all of the brutal fighting, gunplay, and broken glass you could want. Even a machete and a pair of scissors come into play.

As if that weren’t already enough, the cinematography by Peter Ngor is top notch. The opening shot of the Thai assassin putting on her bra, framed by a window blazing with neon, is poetic and lovely. The cinematographer and director do a fine job of depicting the seamy side of Hong Kong at night.

On The Run is a wild, nihilistic ride, an excellent introduction to Hong Kong’s Golden Age (1985-1995).