Sip si 32 doe (1996)

User Rating:

6.8/10   

Director:

Patrick Leung

Writer:

Roy Szeto (writer)

Release Date:

18 October 1996 (Hong Kong)

Genre:

Action | Drama | Thriller

Plot:

A mysterious and highly skilled hitwoman in Hong Kong is paid to assassinate top-level crime bosses...

Plot Keywords:

Noodle Vendor | Love | Child Shot In The Forehead | Seoul Korea | Murder For Hire

Cast

Sang Woo Han	...	Yichin
Ching Wan Lau	...	Long Shek
Shirley Wong
Chien-lien Wu	...	Shu Li Han

Also Known As:

Beyond Hypothermia (Hong Kong: English title)
She shi 32 du (Hong Kong: Mandarin title)

MPAA:

Rated R for strong violence and some nudity.

Runtime:

USA:90 min | Hong Kong:85 min

Country:

Hong Kong

Language:

Korean | Cantonese

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Australia:MA | New Zealand:R18 | Germany:18 | Hong Kong:IIB | USA:R

Company:

Milky Way Image Company

twists undercutting genre convention and audience expectations

This is certainly one of the best made girl-assassin films that have formed a genre of their own in Asia over the past 30 years. Conforming to the conventions of the genre, we have an attractive young woman whose early experiences have led her to adopt the life of a cold-blooded killer for hire; we have her gradually grow aware of her own emotional emptiness; we have her meet a man she could really go for if she didn't always have to remain ready to kill just about anybody; we have the betrayal by one of her few trusted associates; and we see her develop a plan for resolving all the dilemmas these situations present her with. In short, very little new in the story.

What's new is the manner in which it is all handled. The girl-assassin genre picture is typically handled in a rather over-the-top action film style, because the basic premise of the genre is really pure fantasy. I'm not saying there aren't female assassins in real-life; but they certainly don't share either the luxurious payoffs, the existential dread, or the romantic longings that we find in girl-assassin movies. In fact they're lives are probably little different from that of the male mob or government killer. We just want them to be different because they're women; and the girl-assassin film plays to this.

The present film certainly starts off in this direction, but very gradually, but at last inevitably, turns our expectations on their head. The guy our girl-assassin falls in love with here isn't very smart, but he is certainly very ordinary. The big-pay-offs for her killing never seem to bring her any luxury. And her romantic longings are doomed about half-way through the picture when she has to shoot a five-year-old girl who has witnessed one of her hits - and does. From this point on, we know she's doomed; she may never be caught or killed, but she can never live with herself after this.

Along with these twists undercutting genre convention and audience expectations, the film's visual style also gradually becomes increasingly realistic as it goes along. At the end, we're no longer in the same glitzy universe most girl-assassins inhabit, but a dead-end street looking very much like one we might ourselves wander down, but for the grace of whatever divinity watching out for us.

But there's no divinity watching after this film's girl-assassin. And the ending is probably the most down-beat of any film in the genre. But it is perfectly true to the situation.

Very dramatic, well-performed, nicely put-together - but, be warned: very depressing.