Sea Root
Reviewed by YTSL
It was Brian who mentioned a while back to
me that the world of Hong Kong movies can be like a web, full of connections
and also with various strands leading one off to explore it in diverse
directions. I have found his statement to be very true, and reveled
in my appreciation of one particular gem often bringing about (further)
"discoveries" re other efforts by individual talents who I have come to
respect and admire. A case in point: My love for "Peking Opera
Blues" inspired me to check out a host of other films which not only star
Brigitte Lin, bear the imprint of Tsui Hark, contain action sequences choreographed
by Ching Siu Tung and are shot by Poon Hang Sang but also productions whose
scripts were written by Raymond To (e.g., "Hu-Du-Men" and also this quiet
drama which was given a prime Christmas period release slot in 1995 and
ended up spending a lengthy 54 days on Hong Kong cinema screens).
SEA ROOT's title refers to the film's fisherman
protagonist (Root is portrayed by the versatile Lau Ching Wan). It
also well describes the character's ties with the sea, the strength of
whose attachments can be seen in: Him and his parents (who are played
by Yip Chun and Lee Fung) opting to live -- not just work -- on boats (rather
than land); along with the reticent man's tendency, for much of his life,
to look to the sea rather than to people for comfort and solace as well
as companionship. Frankly, it was a definite plus for me that this
offering unconventionally focused on the kind of folk whose milieu of choice
is a far cry from those of such as the Triad Boyz and consumerist yuppies
who pepper many a Hong Kong movie (something which is well illustrated
by Root's being revealed to not know what or where Mongkok is as well as
not realizing how much he stuck out like a sore thumb when walking leisurely
and eating an ice cream cone on a Tsim Sha Tsui main street).
With an opening sequence which utilizes genuinely
old TV shows to communicate the thoughts of its scriptwriter directly to
the audience, I can see how people could initially reckon that SEA ROOT
is a paean to the good ol' days and ways. Do not be misled though
into thinking that this seriously unflashy production -- which relies on
small items and actions (e.g., the discovery of what happens to certain
laboriously written letters, the burning of a small wooden box) to successfully
trigger powerful flashes of emotions -- is one which emphasizes past events
over present (and future) occurrences. In fact, even while it does
seem to possess a nostalgic feel and contains its share of "flashback"
segments (to more innocent and prosperous days), the film's makers turn
out to be clearly asserting that it is not ideal to wallow in memories
and live in the past, especially at the expense of coming to grips with
contemporary realities and grasping opportunities that can make the future
a happier time than now.
The consistent transmission of this main theme
in SEA ROOT is a bit surprising when it is realized that the offering was
helmed by as many as five directors (who are collectively credited as the
Art Concept Creative Group). Alternatively, different visual styles
and tonal "feels" can be discerned in different sections of this work.
I particularly feel this with regards to the way the film ends (Even after
giving it quite a bit of thought, I still can't figure out whether it was
a dream or "real" sequence...). The early portion in the movie when
Root and his cousin go to a Mainland Chinese village to "buy" a girl (to
help out Root's disabled mother with her chores; an act which no one seems
to have moral qualms about) also seems to not too seamlessly fit with the
others.
Actually, this (re)viewer might go so far as to
suggest that the one major discordant -- even false -- note that reverberates
throughout SEA ROOT comes by way of its not uncharming principal female
character (and lead actress). Others might think differently but:
While I can definitely accept that a rural Mainland Chinese lass can idolize
Anita Mui the way that "He's a Woman, She's a Man"'s Wing did Rose, I found
it difficult to believe that someone who had previously never ventured
out of her home area could be that streetwise -- and not just that eminently
knowledgeable about Hong Kong's geography -- as Alice Lau's sparkly Lotus
character. It also didn't help matters that Ms. Lau -- at least in
this offering -- has an air about her that makes it seem very unlikely
that she would and could have led the life of the admittedly untraditional
woman she was asked to portray in this movie.
Apart from that which arose from this one piece
of miscasting though, the makers of SEA ROOT really ought to be commended
for having made -- plot and all -- an authentic feeling as well as moving
"slice of life" film that helps show the socio-cultural diversity of Hong
Kong's populace. It was novel and interesting too to get the alternative
views of Ocean Park, Aberdeen and other areas of the former British Crown
Colony that one is given in this movie. At the risk of sounding facetious,
I have to state that it also was refreshing to see a Christian priest character
being portrayed by someone other than Spencer Lam (Father Fok was played
instead by Woo Fung)!
My rating for this film: 7.
DVD Information:
Distributed by Mei Ah
The transfer is decent - clean and reasonably
crisp.
Letterboxed
Mandarin and Cantonese language track
Burnt on Chinese and English subs.
9 Chapters
It has a trailer + attractions for Zhou En
Lai (a big fan favorite!) and The Kids of Shaolin.