In this prequel to Mou gaan dou (2002), Chan Wing Yan has just become an undercover cop in the triads while Lau Kin Ming joins the police force. Both the triads and the police find an enemy in a rival crime boss.
Anthony Chau-Sang Wong
Police inspector and excellent hostage negotiator Ho Sheung-Sang finds himself in over his head when he is pulled into a 72 hour game by a cancer suffering criminal out for vengeance on Hong Kong's organized crime Syndicates.
An espionage thriller set in the 1950s and adapted from the novel "Year Suan/Plot Against" by May Jia. Tony Leung Chiu Wai plays a blind man who works for a piano tuner. He is recruited for a spy mission because of his exceptional hearing.
Tony Chiu-Wai Leung,
Because Chan was being expelled from the school in 1991, SP Yeung Kam Wing graduated, with all police reports distinctions, being the first in whole class. Twelve year later, he was being sent, working to Lau. Ten months after Chan dies, Yeung's spy had blew a case and the spy wish to kill Yeung, but Yeung took his gun and shot him to conclude this failure. Lau gave Yeung car park seat B3A6 when Yeung met Lau. Yeung asked Chan who he is, but Chan didn't remember him. Sam works with Yeung and Lau is recording Yeung's words so that he can sue Yeung. Yeung is a police SP, which is being sent to Sam as the spy from police. Lau doesn't really know Yeung's Police SP position and wish to catch Yeung to the police head. Yeung work with another inspector who is a good friend of Yeung himself. Lau sneaked into Yeung's office, stealing the cassette, and ask the head to tell him that Yeung is the spy of the triad, Sam's triad. The inspector friend of Yeung, without found by Lau, changed Lau's own...Written by
In the movie, we see Dr Yee's notes about Yan twice. The text in both scenes are in English and has nothing to do with Yan. In fact, the text is a discussion about a blind person who regained his sight sense. Moreover, though both text tells the same thing, the texts are not the same in those two scenes. See more »
While in the U.S. the 3rd movie of anything is suppose to be the large-scale, big-budget, battle-destruction-galore ending to a series, Infernal Affairs 3 shamelessly does the opposite and delivers an introspective look devoid of any "battle" scene at all. Now that IA has become somewhat of a cult following (ironically the story is not meant to go any further) it seems fitting that we are delivered a film as if the cutting-room floor pieces were placed together from the previous two movies and sequenced for the conclusion.
The story attempts to elaborate the most important details of the series and not presenting them in sequence, only a handful of present scenes exist which each are periodically given a large delve into the past. IA 3 explores what happened leading up to many scenes in the first Infernal Affairs which is really pretty neat for anyone who watches movies and seen the first. As a result its a jumble and mix of scenes giving you dates of when they occur (sometimes eliciting humor) and glimpsing every single character in the series as if they were the past but really filmed new for the movie. And in this way follows Yan and Ming's characters as they progress to their fates.
But it seems perhaps that by doing so, the movie is simply what was left out in the first film and anyone new to the series will obviously not understand the significance of what is going on other than the artsy cinematography of white-washed cool hues, steady camera work, and continual sponsorship of devices and products. This also includes the chaotic, dizzy feeling of progressing back and forth sometimes not knowing when you are (as with scenes that occur in Ming's mind only). Perhaps only the avid movie goer will realize Mo Gan Do 3 is a representation of hell in a high-tech world, the redemption of Yan and Ming's fall into insanity. But most will be confused about why until they see it all.
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