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Johnny Handsome is a deformed gangster who plans a successful robbery with a friend of his, Mikey Chalmette, and another couple (Sunny Boid and Rafe Garrett). During the heist, Johnny and ... See full summary »
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A simple self-destructive drifter and tough small-time boxer with a brain injury that could kill him meets and falls for a cute beach carnival owner, Ruby, but also befriends a sleazy friendly criminal, Wesley, who's planing a big score.
Chinatown, New York City. There has long been an unofficial agreement that the NYPD will leave the traditionally run Chinese triad alone to manage the crime issue in the neighborhood, the triad who is the face of organized crime of Chinatown. The triad also has an unofficial agreement with the Italian mafia, still seen as the major player in organized crime in the city, to be cooperative in a win-win situation in their illegal activities. However, the Chinese youth gangs are disregarding these unofficial agreements, being another violent player in the crime scene in Chinatown, they who take a stand by killing Jackie Wong, the head of the triad. To deal with the matter, the NYPD reassign Captain Stanley White from Brooklyn to Chinatown. Stanley, of Polish heritage, is not averse to slinging slurs toward his adversaries, most of those of a racial nature. This reassignment will not help the already deteriorating marriage he has to his long suffering wife, Connie. While Stanley is ... Written by
Michael Cimino and Oliver Stone first met when Stone approached Cimino to direct Midnight Express. Cimino had to pass, as he was just about to start production on his passion project, The Deer Hunter (1978). Years later, while in pre-production on Year of the Dragon, Cimino remembered how much he loved the script for Midnight Express, and asked Stone to collaborate on the script. See more »
The first time Stanley is shown on screen his hair is gray and white all over. The next time Stanley is shown in the police station his hair is brown with gray only visible on his temples. In other scenes of the film his hair changes color from gray/white to brown with graying at the temples. See more »
Captain McKenna, any leads in the murder of Jackie Wong?
Nothing at this time.
Do you think this killing means there's some kind of war going on in the Chinatown Tongs?
No, I don't. This is basically a situation where the youth gangs are lashing out at the establishment. The community is cooperating. The situation's under control.
See more »
The end credits roll over a squeezed image of the Chinese woman restaurant-singer crooning a Chinese easy-listening ditty. See more »
Resurrection Symphony #2 (Fifth Movement)
Written by Gustav Mahler (uncredited)
By Bernard Haitink and The Concertgebouw Orchestra
Courtesy of PolyGram Special Projects, a division of PolyGram Records, Inc. See more »
This is the first movie in Rourke's golden years: Year of the dragon (1985), 9 1/2 weeks (1986), Angel Heart (1987), Barfly (1987): every single one underrated IMO. His glory started to erode heavily with Johnny Handsome (1989), really hit an all-time low with Wild Orchid (1990) and confirms that as the Marlboro Man's sidekick Harley Davidson (1991). Nevertheless I'm sorry that his footage was cut out of the Thin Red Line (1998), because I like his style. Michael Cimino (Thunderbolt&Lightfoot, Deerhunter) and cinematographer Alex Thomson (Excalibur, the Keep, Legend) apparently know their way in the eighties as well, although the story plays just before.
Is the recent wave of violence in Chinatown caused by Stanley White, the new (Polish originate) gung-ho sheriff in N.Y. Chinatown, or by the hunger for power by the young chinese gangsters? White, ironically, makes his own job harder because he has serious trouble respecting the Chinese in any way. Stanley hits the crime in chinatown like Popeye Doyle in the tradition of the French Connection, instead of a sheriff with brains. He will have to pay for his callousness and hypocrisy.
'Year of the dragon' depicts some of the the money and gambling problems of the Chinese in an early but profound eighties' style. The score sounds cheap, but fortunately is scarce too. I particularly like the noirish feel of this way-above-average cop-flick. Michael Mann could only wish he made this: it's one of my favourite tv-movies. The few negative points are probably due to interference of producer Dino de Laurentiis. 8/10
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