Plz ID this movie !

[MM_Boy]

Dear All

I would like to know a movie name, I only remember Actor is a blind man and Actress is Shu Qi (may be).
If you know plz tell me the movie name

Thanks and Regards,
MM boy

[Brian Thibodeau]

Probably MY NAME IS NOBODY (aka SAINT OF GAMBLERS 3), in which Shu Qi IS blind, and Nick Cheung pretends to BE blind in order to fake out some nasty gangsters in a card game:

http://www.hkmdb.com/db/movies/view.mhtml?id=8677&display_set=eng

[dleedlee]

How is the movie, btw? I think I missed this one.

[Brian Thibodeau]

Better than you might think considering it stars Nick Cheung. He's actually half decent in a semi-serious role. The packaging might make you think it's another wacky Wong Jing gambling comedy, but it's more straight up than that. The final gambling face-off uses all the tricks in the book, but it's actually quite suspenseful.

Shu Qi plays a blind Christian fashion model.

OK, maybe that's a bit of a stretch, but generally this is an OK potboiler, worth a view if you can find it cheap.

[MM_Boy]

hi Brian,

Many thanks for ur help
Yes... the movie u said is really what I wanna know.

MM_boy

[dleedlee]

Thanks, Brian. Hey, I like 'typical' Wong Jing!

[Brian Thibodeau]

When you think about it, "typical" Wong Jing stuff is hardly limited to Wong Jing in the world of Hong Kong cinema, an everything-but-the-kitchen-sink, gerry-rigged milieu if ever there was one, where plenty of filmmakers seem to understand the need to genre-jump several times within a single picture.

MY NAME IS NOBODY is probably only atypical if you compare it to his other gambling pictures, high profile glossies like GOG, CASINO RAIDERS, SAINT OF GAMBLERS (the precursor to this film), THE BIG SCORE (in which he also co-starred, like he does here), and CONMAN (among others), or the all-out crazies with which he's often identified in spite of having done a sizable amount of straight-laced features: anything-goes stuff like HIGH RISK, FUTURE COPS, KUNG-FU CULT MASTER, HOLY WEAPON, CITY HUNTER and so on.

In fact, compared to much of his output, MY NAME IS NOBODY is rather subtle, all things considered, although Wong doesn't ditch the gags entirely...

And did I mention that Shu Qi plays a blind Christian fashion model?

[dleedlee]

I think I'm agreement with you. If anything Wong Jing is the embodiment of 'HK film'. I just get really tired of people slagging him (didn't mean to imply that you were, Brian) when he's such an important and central figure. Not to mention, just plain entertaining, too. You can never accuse him of getting into a rut, at least.

I always think of that scene in Those Were The Days where a young Wong Jing pleads with his father to go to film school in England and his father dismisses him and tells him, why bother, just do it.

Anyway, typical or atypical, I like Wong Jing and find him always worth a look.

[Brian Thibodeau]

In my early days discovering Hong Kong cinema, a lot of then-available resources, many of them fanzines or magazines like Asian Trash/Cult Cinema (a truly rotten moniker) seemed to have it in for Wong Jing, most often it seemed, due to his populist aspirations and seeming fixation on the puerile and sexual. Since these publications were often all there was on the subject, newbies like myself were often dealt lower expectations with which to view these films. I used to say I never trusted the critics, and generally I still don't, since film appreciation can often be so subjective an experience, but when venturing into what was, for me, uncharted territory, and living in a medium-size city with few if any other burgeoning fans, I was left far too often to trust the instincts of people I'd eventually come to despise for their snivelling disdain for filmmakers like Wong (and many others I'd learn) who actually represented the norms of Hong Kong cinema rather than the exceptions, and this ultimately led me to seriously revise my own preconceptions of the form.

Having now seen a sizable portion of Wong Jing's 80's and 90's work, fully aware that much of it is far from what one would term “quality,” I realize, however that he does indeed embody everything that one should love about that city's unique brand of picturemaking, and perhaps even its attitude toward life itself, and that his films often best represent the ideals inherent in both the people and the cinema of a synergistic city of six million. I’m tempted to tell people that if they don’t appreciate the Wong Jing ethic (crank it out fast, put something in it for everyone, move on), then they’re really missing an important element ot both Hong Kong cinema and Hong Kong itself. Wong’s films can act as a sort of filter through which other films then come into focus, for better or worse. It’s the only city in the world that could produce someone as prolific as Wong Jing, and, more importantly, as prolific in the way that he is. Sure, the world beyond Asia and the non-Asian fan base for its movies can still enjoy Wong Kar-wai's latest piece of moody navel-gazing or Stanley Tong's flashy attempts to crash international markets with hybrid casts, or even the nose-up austerity of Zhang Yimou, but "back home," so to speak, Wong Jing's influence, and the influence of those who influenced him, still reigns supreme, both in his movies, and the films of many of those who are still able to find work in the business.

Keep ‘em coming, I say. I hope when the man one day passes away, he sitting in the director’s chair.

[dleedlee]

Well said, Brian.

I hope when the man one day passes away, he sitting in the director’s chair.

Or, at least, in the arms of the latest Chingmy Yau.

[Brian Thibodeau]

Or, at least, in the arms of the latest Chingmy Yau.

Ahhh, would that he had to FIGHT me for that honour.....