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Costume martial arts fantasy-drama
2012, colour, 2.35:1, 3-D, 97 mins
Directed by Stephen Fung
Northern China, Qing dynasty, c. 1817. During the early 19th century, the Qing dynasty is suffering from gradual western encroachment and also from internal problems, such as the anti-Qing Divine Truth Cult. Among the Divine Truth warriors is Yang Luchan (Jayden Yuan), 18, nicknamed "The Freak" because of an ugly-looking carbuncle on his forehead. Born in Guangping, Hebei province, Luchan had been thrown out of home along with his mother (Shu Qi) and adopted by Zhao Kanping, leader of the Divine Truth forces, who spotted his potential. When the Divine Truth army is defeated by Qing forces, Luchan, at the urging of Divine Truth army physician Dr. Dong, escapes and travels to Chen Village, in Henan province, to study Master Chen Changxing's special brand of martial arts that promotes internal energy. Luchan's batteries have been depleted by Zhao's aggressive fighting style, and the carbuncle on his head has turned red; when it goes black, he will die. However, when he arrives at the village, Master Chen is nowhere to be found and no one will teach him Chen-style martial arts, as he is an outsider. Chen's daughter, Yuniang (Angelababy), who runs the local medicine shop, makes this very clear. Also in the village is Yuniang's boyfriend, Fang Zijing (Eddie Peng), who was raised there but was never taught Chen-style martial arts as his family name was not Chen; after studying in Europe, he's now returned to convince the villagers to allow a railway through their land and to install electricity. After his presentation goes wrong, and Zijing is laughed out of town, he joins forces with East India Company representative Claire Heathrow (Mandy Lieu) to persuade the villagers by force. Meanwhile, at the urging of an old labourer (Tony Leung Ka-fai), Luchan has secretly been learning Chen-style martial arts by studying the techniques of the villagers, including Yuniang, who regularly beat him up. Then one day Zijing and Claire arrive with foreign soldiers - and giant construction-cum-destruction machine Troy No. 1 - to teach the villagers a lesson.
Maybe things will change over the next two legs, but as a curtain-raiser to one of the most ambitious instant franchises in Chinese cinema Tai Chi Zero doesn't raise one's hopes. This first leg of Hong Kong actor-director Stephen FUNG's steampunk martial arts trilogy — a fictional fantasy woven round real-life taiji master Yang Luchan (1799-1872) — is poorly directed, weakly written and iffily cast, and tries way too hard to be different and cheeky, overloading the viewer with visual information while ignoring basic elements like structure, storyline and character development. Worst of all, it's a martial arts comedy made by someone with apparently little real sense of humour. Fung's okay two previous comedies as a director — gangster outing Enter the Phoenix (2004) and period martial arts jape House of Fury (2005) — gave no special proof why he should be entrusted with such an ambitious undertaking, and such proves the case in practice.
Though it may become more evident in the subsequent legs, Fung's personal fascination with steampunk culture is largely visible here in the film's second half, as the villains arrive in a colossal, steam-powered iron contraption (called Troy No. 1) that doubles as both a construction and a destruction machine, full of cogs, wheels and clanking iron plates. Steampunk imagery is hardly new in Chinese costume martial arts movies — Detective Dee and the Mystery of the Phantom Flame (2010) made elaborate use of it, and the recent The Four more limited reference — and in Tai Chi Troy No. 1 is simply a cartoonish attempt to contrast lumbering western industrialised might with quick-thinking Chinese ingenuity. The latter wins the day, but the trailer to the second film shows that more western hardware is on its way across the seas.
Aside from that, the film is exceptionally busy with screen graphics that recall comicbooks ("Slam!" "K.O.!") and Asian TV pop-ups (labels on people and things, backstories filled in, taiji force-fields circled), as well as brief, manga-like animated sections. The backstory of the film's hero is mounted like a (kind of) silent movie and, in what is probably a first, actors are captioned with descriptions like "'70s kung-fu star" and "director of Infernal Affairs trilogy". It should all be lively fun — but strangely isn't. Tai Chi Zero is like a stage comic who tries to make up for his act's lack of real content by fooling around and laughing at his own jokes.
Fung's scattergun approach is certainly deliberate, but quickly tiresome, even continuing at the end with a phoney credits roll ("No, not the end!"). Lost en route are any empathy with the characters, any real drama between them, and any sense of story arc. Though Zero is only 97 minutes long, it feels more like two hours plus, and its lack of dramatic shape is highlighted when it just ends — on neither a rising tone nor a cliffhanger, but simply with the introduction of two new characters.
The film's visual overload may have been more digestible with stronger lead actors for the viewer to focus on. However, real-life changquan martial arts champion Jayden YUAN (aka Yuan Xiaochao) is dull as a performer and, in this leg at least, isn't given much to do except get kicked around and look lost. As the village's prodigal son who returns as some kind of Isambard Kingdom Brunel in top hat, boots and Qing pigtail, Taiwan's Eddie PENG (Hear Me (2009), Close to You (2010)) doesn't yet have the age, range or screen charisma to pull off such a role, and the same goes — to a slightly less extent — for Shanghai-born actress-model Angelababy, who's made a quick mark the past couple of years in romantic comedies (Love in Space, Love You You) but hasn't yet got the screen clout to carry a production of this size as the lead actress. As a villainous rep of London's East India Company, American-Malaysian Chinese model Mandy LIEU, dressed like an 18th-century courtier, is largely destroyed by terrible re-voicing and poor English dialogue (especially in embarrassing love scenes with Peng).
It's left to veteran Tony LEUNG Ka-fai to give the film some performance ballast, but even he gets few chances in the scrappy script, co-authored by Taiwan's CHENG Hsiao-tse (Miao Miao (2008)), also one of the four editors and recipient of a special thanks from Fung in the end credits. (Cheng also directed Peng in boxing drama Close to You.) Action sequences, staged by Sammo HUNG, are average, with wire-work and slo-mo not always fluidly incorporated; and Yuan himself gets relatively few chances here to really strut his stuff. Widescreen photography is good without having any special look or texture, and the score by Japan's ISHIDA Katsunori (Painted Skin: The Resurrection) is over-emphatic.
Version that world premiered at the Venice Film Festival was in 2-D. The end credits include a trailer for the second leg, Tai Chi Hero, shot at the same time and set to be released a month later.
Source: Film Business Asia/by Derek Elley
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