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 ong Kong films about hitmen are pretty much a
dime a dozen, especially those which feature a pair of mismatched assassins,
generally one of which is quiet and reflective, and the other loud and
flamboyant. Recent efforts such as the grandiose "Fulltime
Killer" and the harder edged "Double
Tap" have pretty much covered all of the possible angles and
delivered the definitive versions of the form. Thankfully, with "The
Odd One Dies", Patrick Yau offers up a very different take on the
overly familiar story, much as he did for the clichéd triad thriller with
the complex "The
Longest Nite".
With "The Odd One Dies"
Yau focuses his attention on a pair of very strange characters who are miles
away from the stereotypical assassins which generally populate such films.
Another welcome deviation from the norm is that while the film certainly has
its moments of action and violence, Yau is more concerned with the
relationships between the two would-be killers and their place within Hong
Kong society itself. Having said that, "The Odd One Dies" is not
an angst ridden conscience film, nor is it a romantic take on the
traditional formula. Shot more like a Wong Kar-Wai effort than anything,
this film is hard to pigeonhole, but is very successful, standing out as an
individual, creative, amusing and tense entry in a genre which has long been
known for a lack of originality.
The film marks another collaboration between Yau and
producer Johnnie To (who actually co-directed "Fulltime
Killer"), with whom he also worked on "The Longest Nite",
as well as numerous other projects such as the recent "Throw
Down". Fans of To will recognise this as one of his quieter, more
quirky character piece films, more in the vein of "My
Left Eye Sees Ghosts" rather than the slick tension of "Breaking
News".
"The Odd One Dies" starts by introducing
the viewer to Mo (Takeshi Kaneshiro, recently in Zhang Yimou's "House
of Flying Daggers"), a sullen, petty criminal who seems to spend
most of his time being mocked, beaten up or losing at gambling. Attempting
to gain some respect, Mo takes on a contract to kill a visiting Thai
businessman. However, after winning a fortune through gambling, he decides
to contract out the killing to another assassin.
He is introduced to an unnamed girl (Carmen Lee, from
To's "Loving You") who has recently been released from prison
after carrying out a hit for the man she loved. Emotionally wounded by her
experiences, the girl agrees to take on the job, at the same time
manipulating Mo into contacting the man she was previously involved with,
leading to complications and inevitably, conflict. As the date of the hit
draws closer, the two potential killers find themselves forming an odd
bond, and as the chances of success begin to look bleak, they must decide
who will carry out the assassination, an act which will almost surely be
suicidal (hence the film's somewhat strange title).
A somewhat trite, though fairly accurate, description
of "The Odd One Dies" would be to call it the "Twin
Peaks" of the Hong Kong hitman genre, as both are based around and
driven by a set of eccentric characters. This comparison is furthered by
Raymond Wong's ambient, atmospheric synth-jazz soundtrack, which strongly
recalls some of Angelo Badalamenti's more off key moments. The two central
characters in "The Odd One Dies" are certainly quite different
from the genre norm, and are all the more interesting and refreshing for
it. Yau allows them to dictate the film, and much of it feels like a
series of personal anecdotes, with the assassination plot lurking
ominously in the background rather than being the top concern.
Although there is a fair amount of violence in the
film, this is certainly not the typical genre entry, and those expecting
slow motion gunfights will no doubt be disappointed. In fact, most of the
film is very understated, and though Yau's direction is undeniably
stylish, it is nicely unobtrusive, relying more on the impressive
cinematography of Siu-keng Cheng (whose work also benefited various To
productions such as "Breaking News") rather than flashy
techniques. The film has a rich, gorgeous look, with excellent use of
colour, and really brings the city to life, highlighting the emotions of
the characters and the feelings of isolation from general society.
Yau skillfully balances the action and human elements
of the story, paying attention to the smallest nuances of his characters.
As a result, both Mo and the girl are genuinely engaging, and with this
level of viewer attachment, the film becomes a journey of personal
discovery, and a search for respect and meaning in life, a theme to which
all viewers can surely relate. Their burgeoning relationship, which is one
between two obviously wounded and insecure people, is both touching and
believable, and whilst Yau does not stress it as the centre of the plot,
it is certainly the film's emotional heart. In fact, it is in moments such
as when Mo and the girl attempt to get a room in an upmarket hotel, or
when they attempt to create disguises for each other, that the film is
most effective, and quite often, very moving.
The acting is of a very high standard, with both
Kaneshiro and Lee turning in excellent, subtle performances that at times
seem to border on the improvised. Kaneshiro is especially good as the
moody and often silent Mo, bringing depth to a role which actors such as
Edison Chen (recently dreadful in the vacuous "Moving
Targets") would simply have pouted their way through. This gives
the film a sense of realism, and further endears the character to the
audience. The script is actually fairly minimalist, and a lot of the
character traits are illustrated through gestures and small actions rather
than obvious exposition. From this, the viewer gains a feeling of getting
to know the story's players, as opposed to having to simply accept what is
said, and from this attachment the film grows tenser as events escalate,
since there is a genuine concern as to their fates.
Overall, "The Odd One Dies" is highly
recommended. It offers a very different approach to a rather clichéd
subject, and creates a pair of genuinely interesting and engaging
characters whose at times dark search for purpose and meaning is one of
the more unique and interesting stories to have come from Hong Kong in
recent years.
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