IMDb > Triad Underworld (2004)

Triad Underworld (2004) More at IMDbPro »Gong wu (original title)


Overview

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6.4/10   1,142 votes »
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Director:
Writers:
Ching-Po Wong (story)
Chi-long To (screenplay)
(more)
Contact:
View company contact information for Triad Underworld on IMDbPro.
Release Date:
26 May 2004 (Hong Kong) See more »
Genre:
Plot:
When Triad leader Hung's wife gives birth to a baby boy, Hung considers leaving the world of the gangsters... See more » | Add synopsis »
Awards:
1 win & 3 nominations See more »
NewsDesk:
(7 articles)
DVD Playhouse--March 2012
 (From The Hollywood Interview. 6 March 2012, 9:50 PM, PST)

Palisades Tartan announces Triad Trilogy on Blu-Ray/DVD
 (From 24FramesPerSecond. 10 February 2012, 12:02 PM, PST)

Palisades Tartan announces Triad Trilogy on Blu-Ray/DVD
 (From 24FramesPerSecond. 10 February 2012, 12:02 PM, PST)

User Reviews:
Great throwback to HK cinema's golden age, unfairly dismissed See more (21 total) »

Cast

  (in credits order)

Andy Lau ... Hung Yan-jau
Jacky Cheung ... Left-Hand
Shawn Yue ... Wing

Edison Chen ... Turbo
Chien-lien Wu ... Emily Hung

Eric Tsang ... Tall Man
Norman Chu ... Big Lungs
Yuan Lin ... Yoyo
Kiu Wai Miu ... Figo
Kara Hui ... Wing's Mother
Ka Tung Lam ... Shing (as Gordon Lam)
Suet Lam ... Officer
rest of cast listed alphabetically:
Donna Chu ... Figo's Wife
Ping Ha ... Left-Hand's Mum
Tony Ho ... Brother Lin
Yau-Kuen Law
Alice Lee ... Mistress
Doi-yung Ng ... Target Brother

Chapman To ... Brother To
Ching Wong ... Old Hui
Shu Tong Wong ... Ming
Yat Tung Wong ... Gorgeous

Courtney Wu ... Party guest
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Directed by
Ching-Po Wong 
 
Writing credits
(in alphabetical order)
Chi-long To  screenplay
Chi-long To  story (as To Chi Long)
Ching-Po Wong  story (as Wong Ching Po)

Produced by
Chi-leung Chan .... administrative producer (as Ziliang Chen)
Esther Koo .... administrative producer
Andy Lau .... executive producer
Herman Peng .... line producer
Alan Tam .... executive producer
Eric Tsang .... producer (as Eric Tsang Chi Wai)
 
Original Music by
Mark Lui 
 
Cinematography by
Charlie Lam 
Kenny Lam 
 
Film Editing by
Curran Pang  (as Pang Ching Hei)
 
Production Design by
Yank Wong 
 
Art Direction by
Ching Lam  (as Lam Ching)
 
Costume Design by
Petra Kwok 
 
Production Management
Virginia Chan .... production manager
Ray Pang .... production manager
Man-ching Wong .... production supervisor (as Wong Man Ching)
 
Second Unit Director or Assistant Director
Wai-Ban Chan .... assistant director (as Ray Chan)
Eddy Yeung .... assistant director
 
Art Department
Wai Chuen Cheung .... props (as Cheung Wai Chuen)
 
Stunts
Wei Tung .... stunt choreographer
 
Other crew
John Chong .... co-presenter
Andy Lau .... presenter
Kwok-leung Lee .... production assistant
Bruce Ren .... co-presenter
Alan Tam .... presenter
Wei Tung .... action choreographer (as Tung Wai)
 

Production CompaniesDistributorsSpecial EffectsOther Companies
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Additional Details

Also Known As:
"Gong wu" - Hong Kong (original title)
"Blood Brothers" - Singapore (English title) (imdb display title)
"Left Hand" - Canada (English title) (festival title)
See more »
Runtime:
85 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Filming Locations:

FAQ

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12 out of 13 people found the following review useful.
Great throwback to HK cinema's golden age, unfairly dismissed, 23 October 2005
Author: PiranianRose from USA

The general consensus among HK cinema followers is that Jiang Hu suffers from this and that, so I expected it to be mediocre. Truth is, it turned out to be the most delightful surprise in many years. Right from the start, the bar scenes are filled with energy and dazzling lighting effects, maximizing the cinematic excitement. The film's retrospective score and set design evoke the old Chinese city which was previous achieved to perfection only by Wong Kar Wai's IN THE MOOD FOR LOVE. Jiang Hu's director seems to have learned more than a few tricks from Kar Wai, from utilizing well-placed retrospective songs to capturing the moment for maximum mood. This is to say, Jiang Hu is an outstanding work of art that captures the essence of triad life-cycle and blood brotherhood.

Watching Jiang Hu is like experiencing the 21th century Chinese update of The Godfather or any number of European and Italian American gangster classics in the 60s/70s. In our jiang hu, Loyalty is at stake. Andy Lau and Jacky Cheung, two of HK's finest, reprise their boss-follower roles from AS TEARS GO BY, complete with Jacky's impulsiveness and Andy's more calm personality. Their pure friendship from years ago is turning pale as Jacky's ambition pull him towards the dark side.

While Jacky favors violence as primary resort, Andy Lau's character is more of a pacifist. I find his peaceful resolution approach representative of Buddhist ideology in some manner. When warned that Jacky may turn against him, Andy responds: "I am not worried. If my death is what it takes to make Jacky realize the meaning of blood brothers, then so be it." Andy has reached the top of the game, where money and fame have lost their meaning. He only wishes to change his old friend for the better before time runs out. But Andy does not shove this idea down Jacky's throat; he shows Jacky the way through demonstrations of sophistication and wit, instead of blood and force. In the end, after leaving his words, Andy walks away from the table. Whether Jacky accepts his invitation to recover their brotherly bonding is up to Jacky.

Some viewers have pointed out the lack of brutality/blood. This ties back to Andy's philosophy that success can be achieved without blood, as he expresses many times in the movie. It is a central theme to the story.

Another criticism is about the two intertwined story lines - some think it's confusing. However, let's not forget this kind of narrative structure is featured prominently in Godfather Part II, considered a classic. In that movie, 2 parallel story lines, involving the present day Michael and previous accounts of Vito Corleone, switch back and forth throughout the movie -- very similar to the style of Jiang Hu. I personally think Jiang Hu's approach is even superior to Coppola's classic, since here the parallelism is much stronger (and perhaps more meaningful).

Jiang Hu is the third masterpiece I saw in 2004 (the other two being GONG FU and 2046), a fairly kind year for HK cinema. The film is a bit showy at times, but above all, Jiang Hu is more than a standard gangster flick; its artistic passion yields a touch of timelessness which I suspect will outendure many genre classics. As I write this review in October 2005, no HK film I have seen this year comes close to exhibiting Jiang Hu's rare quality to honor the integrity of the medium.

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