The Killer (1989)

★★★½
There are basic themes explored throughout the Heroic Bloodshed genre, and The Killer exemplifies all of them. It is one of director John Woo's most ambitious projects, taking the crime story concept told to perfection in his A Better Tomorrow and the frenetic gunplay found in A Better Tomorrow II and combining them into this explosive tale of brotherhood, betrayal and redemption. It has a conflicted assassin who values loyalty and honor above all else and a cop who uncovers the good in him. When these two join forces, they make for a most satisfying partnership against a Triad organization that is slowly undergoing unrest due to corrupting influences. The story tells of a clash between an older breed of gangsters and the next generation, which includes members less likely to abide by the rules. Prosperity breeds contentment, which gives rise to complacency. Those who come in later, far removed from building the structure that beckons them, embrace a new way of thinking that poisons the well. Will adherents to the old ways push back? That's where Ah Jong comes in.

Ah Jong (Chow Yun-fat) is an assassin with a conscience. He honors his contracts and expects to be paid accordingly. As the movie opens, he receives his next target, found at a night club where the lovely Jennie (Sally Yeh) sings tunes to an audience yearning for human connection. We get the feeling Ah Jong has been here before and is in fact a frequent guest. He and Jennie make extended eye contact during her song. She recognizes him. He is a regular. His assignment just happened to bring him here again. He walks to the back and goes to work, taking out not only his mark but everyone else foolish enough to oppose him. Unfortunately, Jennie gets caught in the crossfire, and a blast from Ah Jong's gun damages her eyes, partially blinding her. At the hospital, a distraught Jennie learns of her condition. She needs corneal transplants, or else her severely blurred vision will turn to complete blindness. Sergeant Tsang Yeh (Kenneth Tsang) asks her about the assassin, and she remembers his face, but without her eyesight her testimony is useless.

Ah Jong continues to visit the club to see Jennie, who now performs almost blind and walks with a cane. He befriends her without revealing what he did to her at first, and they soon start a romantic relationship. He has pledged to help her regain her sight. He agrees to another hit so that he can retire and use the money to pay for Jennie's operation. His contact Fung Sei (Chu Kong) assigns him a target: a high-profile kingpin attending a boat race in Victoria Harbor. Also there is Detective Li Ying (Danny Lee), who's been assigned to protect Ah Jong's mark. Ah Jong finds his opening and fires, and after a series of chases and an ambush, the two men find themselves in a standoff in a hospital, where a young girl is receiving care after getting hit during the ambush. Someone wants Ah Jong dead. He gets away, but the detective comes to understand Ah Jong as more complicated than the average assassin. That could play into his investigation to uncover his identity.

A rivalry turns to friendship, with all roads leading to a bloody showdown. Despite all the pressure, Ah Jong maintains his traditional ways, pledging to do right by Jennie whatever the outcome. Chow Yun-fat is perfect for this role. He rose through the ranks of Hong Kong cinema until his breakout role in A Better Tomorrow, which includes a fantastic shot of him lighting his cigarette with American currency. It's not so much the visual as the nonchalant way he went about it. His ability to detach himself from his own awesomeness is exactly what John Woo needed when casting Ah Jong, who can calmly take out a target and smile when a gun is pointed at his face. Yun-fat plays the role like a pro, going through a variety of tough situations and emerging from them with fearless aplomb. His demeanor perfectly suits Woo's visual style, which involves slow-motion takes that look like they could fit right into a ballet. In fact, the movie's gun fights are carefully choreographed to emphasize the graceful movements of the participants.

Christian symbolism abounds in The Killer, reflecting Woo's faith and his belief that redemption is within reach for all. I've seen different versions of the film—different by way of their subtitles. In one version, Ah Jong says he doesn't believe in God but likes the tranquility of the church that he frequently visits. Nevertheless, he sees the church as a sacred place and looks up to its artifacts as if seeking guidance. His reverence is further tested during the movie's epic showdown, when a statue of the Virgin Mary is shot to pieces. The image motivates Ah Jong to press forward. This does not lead to a religious awakening on his part, but it does demonstrate that Christianity is important to him. It is another layer that makes up this complex individual. Detective Li Ying is the perfect partner. His faith is not revealed, but he too is affected by this desecration of a holy image. The detective and the killer have a bond between them that extends beyond duty and honor. They are modern day crusaders charged to expel an invading force.

The Killer is a wild ride that appears to get out of control at times, which makes Woo's direction more remarkable. He keeps everything together and never loses sight of what distinguishes his characters. They could have easily gotten lost in the smoke and gunfire, but they remain intact and capably step up to navigate the story's many obstacles. There are also moments of humor. There's an amusing scene in Jennie's apartment featuring Ah Jong and Li Ying face-to-face and pointing guns at each other while she serves them tea. It is an opportunity for relief amidst the shooting. There aren't many moments like this, though, as Woo remains laser-focused on delivering the goods and redefining the action picture for future filmmakers, just as he was influenced by previous filmmakers like Sam Peckinpah. I prefer A Better Tomorrow because it has a much more compelling story, but The Killer works tremendously well in its own way.

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