Drinking is cool! It makes you invincible!

Drunken Master II is another choice of mine that is just as equally deserving of the top spot. In fact, I think it’s probably one of the best martial arts films ever made. This just goes to show what an inexact science these kinds off lists are.

Here’s what I said about the movie awhile back:

Drunken Master II is perhaps Jackie Chan’s finest film, if not the best kung fu movie ever put on celluloid. It has some of Jackie’s best stunts, mixing original director Lau Kar-Leung’s old school choreography with Jackie Chan’s contemporary kung fu comedy shtick. A word of warning: don’t analyze the plot too closely (Oh Andy Lau, where art thou?), and you’ll be just fine. Just sit back and enjoy the fireworks. Chan’s last stand against the amazing leg-fighter Ken Lo is probably one of the best ending battles in cinema history. Really.

What some of you may not know is that this movie actually had a troubled production. Shaw Brothers legend Lau Kar-Leung was the film’s original director, but when Jackie Chan screened the film for the Hong Kong Stuntman’s Union, he realized that Drunken Master II had some problems — namely, it was a little too old-fashioned for modern sensibilities. According to Chan, he offered Lau Kar-Leung the chance to make changes, and when he wouldn’t comply, Chan himself had to step into the director’s chair and rework the ending fight. Although I’ve not heard Lau’s side of the story, Chan claims that he would have kept all this under his hat, but it was Lau who complained publicly, announcing that he’d do a REAL drunken kung fu movie. However, the resultant film — the  misleadingly titled Drunken Master III – was a complete disaster and a real embarrassment for Lau Kar-Leung.

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With the official LoveHKFilm.com reader poll on the Top Hong Kong Films of the 1990s now complete, I thought I might as well share my own top choices with everyone. The moment this poll was announced, I scribbled down what amounted to about  twenty-five or so 90s era Hong Kong films that I absolutely loved or really, really liked. After consulting our archive and recommendation lists to make sure a really wonderful movie hadn’t completely slipped my mind, I whittled the list down to twenty choices and sent them in to Kozo. Of course, there are so many films to choose from, so even personal faves like Lost and Found and Rave Fever got cut out in the process. Before I begin, let me be clear about one thing, I had ZERO desire to create a list that would be considered as “representative” of the decade. That’s a tactic  we often see in random magazine and website top ten lists (I’m looking at you, Entertainment Weekly), as a few “respectable choices” are mindlessly tacked on to add some air of legitimacy. Well, NONE of my choices were made because I thought I should fulfill somebody else’s expectations of what a top ten (or twenty in my case) list should look like. I went with my head, my heart, and my gut.

The last time I composed a top ten list, I chose to do a countdown. I did so for at least three reasons: 1) I was modeling it after current AICN and former CHUD.com critic, Jeremy “Mr. Beaks” Smith’s ambitious Top 100 Films of the Decade countdown, 2) a LoveHKFilm.com’s reader’s poll countdown was already under way, and I thought that readers might be interested to know if my picks coincided with their own, in anticipation of the final ten, and 3) it seemed like writing and posting about my choices in piecemeal fashion made a lot more sense than crafting an overlong and unwieldy blog post that nobody would want to read. Sounds logical enough, right?

Well, this time around, I’m going to do things a little differently. Not only is the 90s readers’ poll long over, but I just really don’t have a desire to write about every movie that I chose with the same level of depth. Instead of a countdown, I’m gonna just lay it all out here and then talk about some of the films in separate blog posts.

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On some level, I knew this would happen. And by “this” I’m specifically referring to my steadily declining output for this wonderful website. Every time I check the main page for updates, I find the blogroll mocking me on a daily basis, reminding me that I haven’t updated this blog in close to two months. And so, I sincerely apologize to you few, you happy few who actually take the time out of your day to read my stuff. Thanks a million for your support. But I have to tell you, my hiatus from blogging was not without good reason.

To make up for Sanjuro’s two month blogging hiatus, Singapore’s very own Stefanie Sun wishes LoveHKFilm.com readers in the U.S. a belated Happy 4th of July!

For one, I’m in a PhD program. My areas of interest are 20th century American literature, Asian American literature and film, hard-boiled detective fiction, and American film noir. I’m taking my qualifying exam in the fall, so that basically means I’ve been spending the last several months of my life and will be spending the next several months studying my ass off for what I am certain will be the hardest final exam I have ever taken in my life — which, by the way, has a timed written component as well as an oral one in front of a wizened council of elders. In my worst nightmares, I imagine it looks something like this:

 GUILTY!

So to make a long story short, the last few months and the next few months for me means reading a lot of fiction and a lot of critical theory, as well as watching a lot of films that don’t have anything remotely to do with Hong Kong cinema.

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When I was attending the University of Hawai’i at Manoa, I did a keyword search of “Wong Kar-Wai,” and amongst the results, I was directed to a couple of HK cinema-related books that I had no idea existed. One was a booklength study of Ashes of Time by Wimal Dissanayake; the other was an equally extensive look at Happy Together by Jeremy Tambling. Both were extremely well-written, illuminating, and full of little known facts about the films. The idea that this would be an ongoing series was an exciting prospect for a Hong Kong cinema fan such as I.

When I visited Hong Kong a few years back, I picked up a copy of Karen Fang’s informative look at A Better Tomorrow at one of the museum gift shops, and just recently, I finished reading Gina Marchetti’s take on the Infernal Affairs Trilogy. She does a heckuva job keeping everything that goes on in the trilogy straight, teasing out the implications of new, seemingly contradictory information we receive in the two sequels. To date, these are the covers of all the books in the series, save Lisa Oldham-Stokes’ He’s a Woman, She’s a Man and  Tony Williams’ A Bullet in the Head, which aren’t coming out until May.

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Hello, my name is Calvin McMillin, a.k.a. Sanjuro. You might remember me from such film reviews as Crouching Tiger, Hidden Dragon, Swordsman 2, or perhaps the strangely infamous Flowers of Shanghai. I’m here today to give you the skinny on my new blog, Ronin on Empty. Now, you might be aware that I once had an irregularly updated column on the site called A Man Called Sanjuro or that I most recently maintained a blogger account also called Ronin on Empty. Those previous writing venues have been folded into this brand-spankin’ new LoveHKFilm.com blog. I wasn’t sure how or where to begin, so I did a few test posts to start out, which you can read underneath this one. With that initial tomfoolery out of the way, I thought I might use this first substantive posting as an opportunity to reflect on the past, consider the present, and speculate on the future.

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