The best of films and/or filmmakers operate a notch below surface level cinema; that is, subtext and symbolism reign supreme. A prime example of visual symbolism can be found in Ridley Scott's feminist revenge picture Thelma & Louise. While the third act is a whirlwind of visual set pieces, Ridley Scott was able to insert a quiet moment that is far expositorier and less literal than the film's ultimate denouement. The sequence has Thelma (Geena Davis) gazing into the side mirror of Louise's Thunderbird, her eyes transfixed on the mirrored image of the highway stretching out behind her. The symbolism of this scene tells the audience that Thelma is reflecting on the past. It's subtle, but powerful.
No less effective is a startlingly literal sequence from Kiss of the Dragon. Amidst all the bone crunching and bullet ballets, director Chris Nahon contorts something as innocuous as a pet turtle and is able to make a powerful visual statement about the human spirit. The most important scene in the film, the release of the turtle is a visual representation of a character that is being held a literal prisoner by the villain. By the simple act of setting the turtle free, Chris Nohan is able to visual expound on the character not only finding freedom, but also finally getting back on her feet. Placing this kind of subtext within the confines of a movie seemingly content with a mounting body count is a remarkable achievement.
Kiss of the Dragon is an effective action vehicle that transposes the glamorous world of James Bond and submerges it in dirty bath water. The film stars action icon Jet Li as Chinese supercop Liu Jian (aka “Johnny”), hot on the trail of a drug smuggling politician from the Motherland. As aptly demonstrated in the classic Once Upon a Time in China series, Jet Li is a powerful actor whose smolder is just as effective as his use of fists. Oftentimes under appreciated by audiences, Jet Li is a thespian far more suited to the roles of Gary Cooper than Bruce Lee. His eyes demonstrate a gentle humanity that has yet to be tapped in the films he's chosen.
The antagonist of Kiss of the Dragon is corrupt police detective Jean-Pierre Richard. Although I've never personally been a fan of Tcheky Karyo, his explosive performance as Richard is unforgettable. Karyo comes across like the Normandy invasion in a bottle, a man whose favorite color is obviously red. His violent introduction is hilariously sadistic, while Karyo's ultimate on-screen demise comes across like a method actor tanked on speed. This is truly one of the best villains in years.
Caught between these two colliding forces is Bridget Fonda, an actress who is arguably the best of her generation. Fonda has the thankless role of Jessica, an uprooted American girl who is under the control of Richard. She's had her daughter taken away, she's been forced to develop a drug addiction, and she earns her bread and cheese walking the Paris streets as a prostitute. While other actresses would have failed in transcending the clichés inherent in these types of characters, Bridget Fonda is able to find an inner light of truth. Fonda is heartbreaking while exploring the decency of Jessica, while the character's helplessness comes across as enduring moments of truth. When Jessica is able to free the turtle and, ultimately, free herself, it's hard not to share in the joy of the moment.
Above anything else, Kiss of the Dragon is a welcome return to the realm of violent action fare. By eschewing the hidden wires and slo-mo gunplay found in all modern action films, Kiss of the Dragon can relish in scenes of Jet Li methodically wiping out a karate school single-handedly, or in a brutal climax where twin Caucasian brawlers desecrate Bruce Lee's the Tao of Jeet Kune Do and pay the ultimate price.
With equal doses of brutality and humor, Kiss of the Dragon earns a black belt for entertainment. It's the best action film of the year.
--Yim Kip
Kiss Of The Dragon Official Web Site
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