Truck driver Jack Burton arrives in Chinatown, San Francisco, and goes to the airport with his Chinese friend Wang Chi to welcome his green-eyed fiancée Miao Yin who is arriving from China. However she is kidnapped on the arrival by a Chinese street gang and Jack and Wang chase the group. Soon they learn that the powerful evil sorcerer called David Lo Pan, who has been cursed more than two thousand years ago to exist without physical body, needs to marry a woman with green eyes to retrieve his physical body and Miao is the chosen one. Jack and Wang team-up with the lawyer Gracie Law, the bus driver and sorcerer apprentice Egg Shen and their friends and embark in a great adventure in the underground of Chinatown, where they face a world of magicians and magic, monsters and martial arts fighters.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Regarding the ornate Lo Pan marriage scene towards the end of the film, "That whole set with the mouth, coming down the steps of the escalator, it was very dangerous," James Hong revealed. "It was a very narrow escalator, and I was on lifts, 12-inch lifts. All of a sudden, John said, 'We don't have time, we've got to do it right away.' I said, 'Can't you get a stunt man, get George Cheung, he's my stunt man.' He said, 'No, no, you just got to step in.' So, with that long robe, I tried to put it over the lifts, and when I stepped on just the part before you go down, the real escalator, I said, 'Oh my God, this is going to be my last scene.' ... It looked like I was fierce, but I was trembling. That's the way it was, everything had to be real." See more »
When Jack Burton rolls backwards in the wheel chair that stops and is teetering on the edge of falling into a well, you can clearly see the wires holding the chair in place to keep it from falling. See more »
There is an alternate version with an added ending scene (found in the directors cut DVD), where after the story is finished, Kurt Russel, in his truck again, finds the 3 punks from the beginning of the movie sitting in their sports car by the docks. He then decidedly drives forward, smashing into their car and throwing it, with them inside, into the sea. This ending was removed from the theatrical version, being donned as "Too vengeful" after test screens. See more »
Despite his recent slide into mediocrity, John Carpenter is responsible for what could be termed some of the biggest cult movies of the 1980's. Following his resounding success with Halloween he went on to direct a number of quirky yet excellent movies that began to tail of toward the end of the 80's with the release of such dross as Prince of Darkness. Carpenters movies are probably some of the most under appreciated pictures of recent cinema history on a commercial level, and none more so than perhaps one of his finest, the delightfully absurd action movie Big Trouble in Little China.
The plot is as daft as they come. Loud mouthed truck driver Jack Burton (played by Carpenter's long time collaborator Kurt Russell) arrives in San Francisco's Chinatown where he agrees to help out old friend Wang (played by Denis Dun) by driving him to the airport to pick up his green eyed fiancé. Things quickly go south however when a band of street punks kidnap the girl and the motley duo set off in pursuit. The pair soon find themselves caught in the middle of gang war that takes on a decidedly mythical bent and are forced to flee while Jack's truck is stolen. All this occurs within the first fifteen to twenty minutes.
If there's one thing you can say about Big Trouble, it's that it's action packed. The plot (such as it is) moves at an incredible pace and the film rarely slows to take breath as it rolls from one action set piece to the next. In such movies, normally the dialogue, and subsequently the acting suffer from a lack of any real attention. Not so here. Carpenter balances everything so perfectly that it's a wonder his career took such a slide. Although the actual story may be incredibly absurd and at times suffers from some rather obvious gaps of logic, the dialogue never fails to sparkle. Russell gives his very best wise ass shtick as Burton, the confused have a go hero who's so out of his depth he should really be fish bait, while Dun excels with a character who is consistently more heroic and capable than the lead. Another wonderful turn comes from an appearance by a young Kim Cattrall (of Sex and the City fame) as Gracie Law, a downmarket lawyer with an ability to talk at incredible speed. Some of the scenes between these three are pure comic genius, as Dun and Cattrall rattle out plot information at a rapid staccato pace while an increasingly bewildered Russell tries desperately to keep up.
Despite such positive remarks, Big Trouble was perhaps one of Carpenter's biggest commercial flops. While many of the movie's fans find this difficult to understand I do not. The reason for its failure is really incredibly simple. In terms of its style and the underlying comedy behind the piece, Carpenter's loving part tribute, part send up of all things Kung Fu was way ahead of the curve in every important respect. Take the relationship between our 'hero' Jack and his 'sidekick' Wang. The true dynamic of this relationship is a wonderfully post modern slant on the cliché buddy dynamic that existed in the 80's and it was done long before post modernist humour became truly fashionable in films (the most obvious example of post modern piece of cinema being Scream). Despite receiving star billing, Russell's Jack is actually a sidekick to Wang. While Wang has the knowledge, the skill and the courage to make him a true classic hero figure, Jack lags behind, being brash, ignorant and of little actual use in a fight. Similarly the action, although remarkably quaint by today's standards in both its look and execution, is a surprisingly accurate foreshadow of the current Hollywood move toward the more graceful, balletic chaos exhibited by movies like The Matrix and Crouching Tiger, Hidden Dragon.
Ultimately Big Trouble in Little China is a movie that survived thanks to the home video market and for that we can only be grateful. While its looks may have aged, its sense of humour and style is as fresh today as the day it first rolled out in cinemas. In short, it's pure escapist magic.
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