Witness how Andy Lau comes across in two movies under two different directors. In the Zhang Yimou's cheesy impersonation of an art film House of Flying Daggers, poor Lau is reduced to almost laughing stock in a hopelessly crafted and lifeless character. In Feng Xiaogang's A World Without Thieves, Lau is given a proper opportunity to act, and he responds with a creditable performance.
Not as well-known to the world at large as Zhang who has achieved fame through shameless succumbing to cheap melodrama, Feng is nevertheless the biggest name in China. Make no mistake about it, Feng's films ARE commercial. But, on top of the commercial elements, Feng retains his unique blend of style, humor and heart. On the other hand, while Zhang still rules when it comes to cinematography, a film does not live by cinematography alone.
And Feng does not suffer by that much even in that department. The opening shots of AWWT are simply breathtaking. The ensuring scene is equally impressive, with Wang Li (Rene Lau) praying in the open temple courtyard among the throng while partner Wang Bo (Andy Lau) engages in a duel of sorts with femme fatale (Li Bingbing). The rhythmic, rousing sound from the throng, the sincere penitence of prostrating Wang Li and the intimidating dexterity of the two dueling thieves blend together in a unique atmosphere created by Feng's ever attentive camera, bringing the audience right into the heart of the movie.
The plot is simple and essentially predictable, set in a familiar, slightly claustrophobic train journey, pitching thieves against thieves and against law enforcers, over certain potential loot. This however does not prevent the movie from offering the audience a bit of everything: jaw-dropping feats, suspense and tension, interesting characters, a love story, struggle between good and evil. What I like about it is that it is unpretentious. Wang Li's (and later Wang Bo's) penitence simply as result of her pregnancy comes across much better than pseudo philosophizing, for example, as in Running on Karma (which incidentally also stars Andy Lau).
The movie features an ultimate good guy character Fu Gen (Wang Boaqing) who, almost like an idiot, doggedly believe that there's no bad guy in this world (and hence the title). Wang plays it so well that even the most cynicism-stricken audience will find it difficult not to love him. Andy Lau, as mentioned, has given a solid performance, even when the character is somewhat stereotyped. Rene Lau, easily one of the best Chinese actresses around today, handles her part with ease. Watch for the last scene when she gulps down mouthfuls of food while a tear trickles down her cheek. And there is of course Ge You, sort of China's Lon Chaney, who appears in every one of Feng's films and never fails to give a delightful surprise every time.
In sum, an unpretentious, entertaining, commercial but high quality film.
Not as well-known to the world at large as Zhang who has achieved fame through shameless succumbing to cheap melodrama, Feng is nevertheless the biggest name in China. Make no mistake about it, Feng's films ARE commercial. But, on top of the commercial elements, Feng retains his unique blend of style, humor and heart. On the other hand, while Zhang still rules when it comes to cinematography, a film does not live by cinematography alone.
And Feng does not suffer by that much even in that department. The opening shots of AWWT are simply breathtaking. The ensuring scene is equally impressive, with Wang Li (Rene Lau) praying in the open temple courtyard among the throng while partner Wang Bo (Andy Lau) engages in a duel of sorts with femme fatale (Li Bingbing). The rhythmic, rousing sound from the throng, the sincere penitence of prostrating Wang Li and the intimidating dexterity of the two dueling thieves blend together in a unique atmosphere created by Feng's ever attentive camera, bringing the audience right into the heart of the movie.
The plot is simple and essentially predictable, set in a familiar, slightly claustrophobic train journey, pitching thieves against thieves and against law enforcers, over certain potential loot. This however does not prevent the movie from offering the audience a bit of everything: jaw-dropping feats, suspense and tension, interesting characters, a love story, struggle between good and evil. What I like about it is that it is unpretentious. Wang Li's (and later Wang Bo's) penitence simply as result of her pregnancy comes across much better than pseudo philosophizing, for example, as in Running on Karma (which incidentally also stars Andy Lau).
The movie features an ultimate good guy character Fu Gen (Wang Boaqing) who, almost like an idiot, doggedly believe that there's no bad guy in this world (and hence the title). Wang plays it so well that even the most cynicism-stricken audience will find it difficult not to love him. Andy Lau, as mentioned, has given a solid performance, even when the character is somewhat stereotyped. Rene Lau, easily one of the best Chinese actresses around today, handles her part with ease. Watch for the last scene when she gulps down mouthfuls of food while a tear trickles down her cheek. And there is of course Ge You, sort of China's Lon Chaney, who appears in every one of Feng's films and never fails to give a delightful surprise every time.
In sum, an unpretentious, entertaining, commercial but high quality film.