As a guy specializing in writing about action movies, sometimes I worry I’m documenting an ancient art form. I romanticize a time when action movies were a rite of passage, a father-son bonding tradition and a major passion for many young people, especially males, but it seems like the youth of today aren’t necessarily interested in this shit. And if they don’t grow up on it then they’re never gonna have that moment when they get a little older and become aware of the other powerful strains of it from around the world.
That makes me sad because whatever they’re watching instead cannot possibly match the rush of joy I got when I saw my first John Woo movie – which was THE KILLER – or each time I revisit his classics now. At the time there was nothing else like it. Somehow that seems even more true today.
The things that are greatest about THE KILLER might be the things that would seem silliest to younger people: the unabashed style and the the unbridled, unironic emotion. I remember people who came up a few years after the era when Hong Kong action cinema was the coolest thing going – people who are old and decrepit now – who would make jokes about John Woo’s doves. “Ha ha, two pistols, and some doves, am I right? Ha ha, I know about a trademark, I have defeated him.”
Well, THE KILLER is gonna be way too much for anybody like that. And maybe I gotta face that they just don’t deserve THE KILLER. The cards are laid on the table in the opening, when Chow Yun-Fat as Ah Jong (or “Jeff Chow,” according to the credits) meets with his Triad manager Fung Sei (Paul Chu Kong) in an empty church at night. That happens in all action movies, but this church is lit with what must be a thousand candles, and there are doves and pigeons flying around, landing on the cross. (read the rest of this shit…)