This is the most important Johnny To film, for this is the first film noir by To and the film in which To establishes his own style as an auteur. Although influences from past Hong Kong noirs are very strong (theme, plot and some details like Ching-Wan Lau's character on a wheel chair are very John Woo-like, and Leon
Lai's character is very much similar to the killer he played in Kar-Wai Wong's "Fallen Angels".), To's own style can be recognized throughout the whole film. Several gunfight sequences (in the middle and the ending of the film) are the very highlights of the film, and they are probably the best gunfight sequences To has ever done until today. Action (movement) itself and tension-rising quick cutting are of course great, but also the dramas (bond of fighters, feud with the boss, and friendship between the two heroes which To thinks is something stronger than anything) told very in the gunfight without a word are the best part. Some sentimentalism which is seen in the choice of theme music (famous old Japanese pop "Sukiyaki") and in scenes of the parting of the hero and his girlfriend in sunset is what is excluded in later films by To in the process of him sharpening his style, but I liked them. Some scenes look little bit too affected and comic-like, but this is definitely one of the best works by To.
September 17, 2009
