Chinese Checkers Movie Reviews

Comrades, Almost a Love Story is one of the greatest movies I've ever watched. You'll love Leon and Maggie after watching this.

In an early effort to make alot of money she tries selling Teresa Teng recordings at a New Year Festival. Its a financial disaster, but it lays the ground work for the movies wonderful final scenes. Li Qiao is tough on the outside, but fragile on the inside. She loves Li Xiojun (Lai), but does not want to break up his relationship with his girlfriend in China. When the girlfriend arrives in HK she leaves for NYC with Eric Tsang. She is headed for tragedy in NYC. I won't tell you more.

Eventually Leon has headed for NYC, but do they meet? No! You want them to meet very much. They come close, but they never get together. They seem to feel each other's presense even though they don't see each other. The end of the movie is so satisfying, its absolutely touching and sweet. This movie is all about sentimentality. Its about remembering things that remind us of our lives. Its one of the nicest movies I have ever seen.

Just like the soft theme song by Teresa Teng, the movie touches you so unnoticeably yet so deeply. I was obsessed every time I watched the movie, but somehow I just could not find out why the movie is this touching. Li Xiaojun and Li Qiao were not any noble people. At first Li Qiao tried to hide the fact that she was from Mainland and exploited Li Xiaojun in various ways. The origin of their love was probably their lonely and helpless feelings as they were struggling for their dreams in the harsh foreign society. The only thing they shared was their fondness of Teresa Teng's songs, which was regarded as a norm for the Mainland people. When they met in the street of New York on the day of Teresa Teng's death, all the feelings came to me that I could hardly breath. It is so realistic, material, instinctive, unpretentious, no way similar to the butterfly's love or Romeo and Juliet, but it moved me so much more in the end...

When I first saw this film I was expecting casual Kung-Fu fair along the lines of the "Wu Tang" titles, but I was pleasantly surprised. The action is well choreographed and almost realistic (with some stylized exceptions), and most of the fighting is sword-play, not chop suey. Sword fighting fanatics take heed!

The subtitles for this really helped, too, in clearing up some points that I didn't understand in the English dub. Ever wondered what was written on Prey's fan? Now you do. You also hear the lyrics of the main theme, and it makes all the more sense when you know what the singer is saying. Besides, a film as grand as this really doesn't deserve being dubbed.

There are a series of life changing events that forms the troughs and crests of the protagonist's life. Each event shows the interplay of both chance and free-will. These events are: the roll of dice at the beginning of the movie, taking the box of puppets to make a living, the forcing of the main character's son to go and help the cadre, and the fixed marriage of the main character's daughter. I'll analyze these one at a time.

The roll of dice at the beginning of the movie has several results. The immediate effect is that Feng Gui (the story's protagonist) loses his family home and his family, both his nuclear and extended families. However, while this at first seems as though an unfortunate circumstance, the primary effect is that Feng Gui gives up gambling and recovers his relationship with his family. In fact, later in the story it becomes apparent that if he had not lost the farm, he would have been declared an evil landlord and sentenced to death. This plainly shows how things that may first appear to be unlucky are in fact lucky. There is also a subtle display of luck vs. free-will in that while luck determined that he lost at gambling, Feng Gui ultimately chose, of his own volition, to go on playing when his wife (the voice of reason) begged him to stop.

The second event, Feng Gui's taking the box of puppets to eke out a living, also shows how fate can play an important role in one's survival. By staying honest with himself and using a true talent to get by, Feng Gui manages to avoid being killed in the bloody fighting between the KMT and the CCP. While many people would have given up on the puppets, Feng Gui did not take lightly the promise that he made to return the puppets once he got back on his feet. He persisted in keeping the puppets, even though it would have been more expedient during the marches to leave them behind. Eventually the puppet shows proved spirit-lifting for him and the surrounding soldiers, and possibly saved him from further toil as a prisoner. This event shows how strength of purpose and resolve can get people through even the most trying of times.

The third event, Feng Gui's forcing of his son to help the cadre despite his lack of sleep, shows yet another way that fate can be influenced by human foibles. The event rests in Feng Gui's devotion to his family and the cadre. Feng Gui is forced to choose which is more important-he chooses the cadre. Despite the fact that his son is very tired and on the verge of collapsing from exhaustion, Feng Gui sends him to work. Feng Gui thinks that to do otherwise would reflect badly on the family and cause the cadre to doubt the family's devotion. In placing more value on the cadre, fate makes Feng Gui suffer the consequence of his own actions when his son dies. This event shows how one's intentions can play an important role in one's fate.

The fourth event, the fixed marriage of Feng Xia (Feng Gui's daughter), shows another aspect of fate. What is a very happy stage in Feng Xia's life ultimately foreshadows her end. While she has done nothing to directly influence her fate beyond ensuring its happiness, the Red Guard has removed experienced doctors from the hospital. When complications arise during her delivery, there is nobody there who can help. This event shows two important aspects of life. The good times in one's life can often turn bad very quickly and other people can influence one's own fate.

To Live brilliantly explains fate and all its facets. Through the chain of events in the movie, one can acquire this wisdom and become more aware of how things influence their own lives. As I said before, I believe this aspect of the movie is its most endearing quality. And through it all, Feng Gui survives.

I cannot recommend this film highly enough.

The beginning is full of the comedy of differences and humorous rivalry between a young Chinese man (Liu), who is proficient in Chinese boxing, and his new Japanese bride, who is proficient in Japanese fighting; along with the misdeeds of a meddlesome servant who manages to incite even more difficulty between the spouses.

The rivalry turns into a formal challenge, as a cadre of Japanese fighters: experts in--among other things--Bushido, Karate, Ju-Jitsu and Ninjitsu, visit the character portrayed by Liu, to defend the wounded pride of his wife, which translates to their own pride in the (alledged superiority of) Japanese martial arts.

Liu then faces off against each of seven Japanese fighters in a series of very entertaining matches. Liu carefully chooses the appropriate Chinese weaponry and/or fighting style prior to meeting each of the challenges (the ju-jitsu match has its own surprises, though!), then engages. Good, clean (and informative) fun! No blind revenge, no death matches or victims coughing up blood, just a wholly enjoyable look at two competing styles within the context of 7 challenges, each of which affording the contestants new insight, appreciation and respect for each other: the elegant, diverse repertoire of Chinese martial arts styles pitted against the powerful, efficient styles of the Japanese.

And in the meantime, the marriage relations get better!

Top-shelf, top-of-the-list entertainment for every devotee of "old-school" kung fu films.

Shaolin Challenges Ninja delivers what most people wanna see. Lots of fights, exotic weapons, and different fighting styles. A chinese man (Liu) gets married to Japanese woman. The woman knows Japanese Martial arts, but Liu claims that her style is too rough for a woman especially. They fight, Liu winning constantly. His wife returns to Japan, Liu inadvertantly sent a challenge to his wife's teacher. The Japanese accept and Liu must face 7 (i think) Japanese men and 7 major different fighting styles. Some of the fights close to the end are a bit strange. Most likely, the director ran out of ideas. The very end fight is excellent though. The end is okay, but could have been better.

Great for watching exotic weapons. extremely bad sound quality, i could not realy understand what was being said. only english dubbed, bad video quality. The use of the weapons is really what redeems this movie

The 6-part series (of which Li only appears in the first three, and the sixth) follows Wong Fei Hong, a doctor long renowned in Chinese legend. The setting is in late 19th century China as issues of colonialism, and suspicion toward foreigners runs ramapant. Fei Hong is usually neutral, with stronger leanings toward anti-westernization. Villains often play the part of the complete anti-westerners, doing any and everything to kick the French or British out. In the pro-west corner is Aunt Yee (aunt via a distant relation it seems, which lessens the weirdness of the romantic tension between her and Fei Hong) who dresses "modern," takes pictures with a camera, and believes the future lies in assimilating more of the western form into the culture.

Fei Hong is caught in the middle. He is extremely proud of his country and its people, but knows there is some merit to Yee's belief. For one, as a doctor, he has seen and understands some of the more efficient medical methods of the West, and knows that they surpass some, but not all Chinese methods. He fights both overly zealous Chinese and foreigners who don't mind making murder and brutality part of the process.

The Yuen Wo Ping choreographed scenes could make up a manual for shooting the kung fu fight scene. The cuts are long, extended takes, from numerous angles, with only splashes of slow motion. Wire work takes precedence over CG EFX (there aren't really any), and the fights are fast and furious, with few dramatic pauses where the fighters glare at each other, etc. You will see some of the most clever and awe-inspiring fight scenes ever caught on film.

One fight in the first volume takes place in a multi-story barn where Fei Hong battles Iron Vest Yim atop ladders and hay bales, using the ladders as if they were his feet. In the second, more historical volume, there are amazing sequences against Donnie Yen, it top "Iron Monkey" form, and a fight against the White Lotus sect where winning the battle is only half the fight: both fighters are at the same time trying to stay atop tables, ledges or people, as long as they don't touch the ground.

It's a definite must-have for your collection, and if its the start of your collection, you'll be drawn to his other pre-mainstream films as well. Note that his assistant Fu changes from volume to volume (Yuen Biao sets and is the standard as Fu in Vol. 1) but this is a minor, although slightly irritating side issue. The fights are mind-blowing--"Crouching, Tiger" without the intimations of love, fantasy, magic or slow motion. Just drawn-out street fights in the true fight-to-survive mindset.

The 6-part series (of which Li only appears in the first three, and the sixth) follows Wong Fei Hong, a doctor long renowned in Chinese legend. The setting is in late 19th century China as issues of colonialism, and suspicion toward foreigners runs ramapant. Fei Hong is usually neutral, with stronger leanings toward anti-westernization. Villains often play the part of the complete anti-westerners, doing any and everything to kick the French or British out. In the pro-west corner is Aunt Yee (aunt via a distant relation it seems, which lessens the weirdness of the romantic tension between her and Fei Hong) who dresses "modern," takes pictures with a camera, and believes the future lies in assimilating more of the western form into the culture.

Fei Hong is caught in the middle. He is extremely proud of his country and its people, but knows there is some merit to Yee's belief. For one, as a doctor, he has seen and understands some of the more efficient medical methods of the West, and knows that they surpass some, but not all Chinese methods. He fights both overly zealous Chinese and foreigners who don't mind making murder and brutality part of the process.

The Yuen Wo Ping choreographed scenes could make up a manual for shooting the kung fu fight scene. The cuts are long, extended takes, from numerous angles, with only splashes of slow motion. Wire work takes precedence over CG EFX (there aren't really any), and the fights are fast and furious, with few dramatic pauses where the fighters glare at each other, etc. You will see some of the most clever and awe-inspiring fight scenes ever caught on film.

One fight in the first volume takes place in a multi-story barn where Fei Hong battles Iron Vest Yim atop ladders and hay bales, using the ladders as if they were his feet. In the second, more historical volume, there are amazing sequences against Donnie Yen, it top "Iron Monkey" form, and a fight against the White Lotus sect where winning the battle is only half the fight: both fighters are at the same time trying to stay atop tables, ledges or people, as long as they don't touch the ground.

It's a definite must-have for your collection, and if its the start of your collection, you'll be drawn to his other pre-mainstream films as well. Note that his assistant Fu changes from volume to volume (Yuen Biao sets and is the standard as Fu in Vol. 1) but this is a minor, although slightly irritating side issue. The fights are mind-blowing--"Crouching, Tiger" without the intimations of love, fantasy, magic or slow motion. Just drawn-out street fights in the true fight-to-survive mindset.

So what has that got to do with this movie? This is a perfect example of that. This is a tale about a woman (Chung) who comes to New York to meet her lover. Instead of a ring, she gets snubbed for a richer, more sophisticated new girlfriend. The only person she knows in the entire country is a distant cousin (Chow), a rough ruffian who knows love as much as Tarantino does romantic movies. Slowly, a bond develops between the two bumbling losers and as fast as the love blossoms, the flame is extinguished when Chung moves on to take another job in other part of New York.

In the tradition of 'A Roman Holiday', the setting in a foreign land accentuates the romance. They are the perfect strangers who are pushed together by the force of circumstance. The chemistry between Chow and Chung work out great on screen and the acting, albeit low key, is very convincing. Chow is a master of turning an ordinary character into one that instantly engages you and strikes you as interesting.

I first watched this film when it was released. Years passed and I even forgot its title. I never forgot the movie though (although I did the ending). One day I decided that I wanted to see it again and looking at Chow's career history, I finally found the English title and managed to get my hands on a copy. Talk about something that lives in my mind forever.

Liu Cheng (in a beautifully realize performance by Peiqi Liu ) is the 'father' of a gifted young violinist Liu Xiaochun (realistically acted by young violinist Yun Tang ) and when it becomes apparent that the child has won all the local prizes for his musicianship that his little town in Southern China affords, the father saves money and moves to Beijing for advanced studies. One professor (Zhiwen Wang ) lives the life of the bohemian, as interested in his home for feral cats as he is in hearing his pupil learn. The gift he provides is to emphasize that Liu Xiaochun always play from the heart. The next professor (played with great tenderness by director Kaige Chen ) guides him up to the point of winning a National Competition, a goal which obviously will satisfy everyone concerned - except Lin Xiaochun, who has gently fallen in love with the waif Lili (the gorgeous Hong Chen, wife of the film's Director). When it is discovered that Lin Xiaochun's father is returning to his home in the provinces - his work and dream accomplished - the son slowly discovers that his 'father' was simply a man who saved the unwanted child from a bench near a violin, and that knowledge that one man could love him that much to make a life for him changes the course of the action and...See the film.

Throughout this visually stunning production (the southern province looks like an Asian Venice)the background music is all violin solos and concerti and while the actors actually play on the screen (the best I've ever seen), the score was recorded with the gifted Chinese violinist Li Chuan Yun providing exquisite technique and passion after the filming was completed.
The technique of using black and white flashback sequences to tell the real relationship between father and son is subtle and in keeping with the tone of the film. In all, a simple tale that may be unlike the epics of this Director, but with all the warmth and honesty his other major films also contained. A very well made, fine little film.

What impressed me most is that how the boy could deliver all his feelings, emotions, and expressions just through his violin! In fact, I could understand his hidden emotion just by looking at him playing the instrument.

A very well done production, if not perfect. The best Chinese movie I've ever seen.