See The Club aka Wu Ting (1981).
See 誰是胡定欣？她曾是TVB索爆視后 卻慘遭陳展鵬拋棄.
See Wu Tang Collection - Furious K.
See Sheng Chiang, Kao Fei in Long .
See action movies Billy Chong in W.
See Wu Tang Collection - Abbot Whi.
See 吳俊生演奏電磁琵琶【大浪淘沙】 (1981) Great W.
See Wu Tang Collection - Seven Ste.
See Wu Tang Collection - David Chi.
See Wu Tang Collection - The Stunn.
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Veteran Hong Kong director Kirk Wong made his directorial debut, The Club, in 1981 when he had returned to Hong Kong from England where he was studying. He got a nice cast for this first movie of his, including the true life triad member/gangster Michael Chan Wai Boy as the leading role as Sai, a strong triad member who struggles the bloody fight about the ownership of one local gang operated restaurant night club. The movie is so filled with violence that it becomes its most necessary character, too, and replaces the "plot" easy and with purpose.The carnage-o-meter is here as high as in the another harrowing Hong Kong experiences like Ringo Lam's School on Fire (1988) and Simon Nam's Her Vengeance (1986). Both these movies end in hyper dark and brutal bloodbath where the characters, people, become beasts and act as brutely as an animal can, and thus these movies are very pessimistic and honest about human nature, too. School on Fire is the strongest (and most censored) one and has also a merciless bits of social commentary in it. The Club belongs to the same genre as these and the violence is no less painfull to watch, in fact it gets even worse at some points. The characters just don't seem to be able to act in any another method than violence. They are greedy and if they can't receive what they wish they'll attack and test force and kill.The movie could have had tiny more carefully constructed storyline and some elements that it should be taken as even more noteworthy statement about human being and criminal underworld in the society. Actually it feels a tiny too straight no matter how strong it still is. Of course it depicts the triad gangsters' lives in the most possible realistic method as Chan was involved in it, but still they could have depicted also some contrast and "cure" for the issues the movie is saying about. There doesn't even seem to be police in the town, only gangsters and victims. What makes the symbolism of the barbarity of human nature in its most weakest moment even more strong is the fact that there are no fire arms in the piece, only large knives and the like. The most insane acts contain boat engines and hair dryer and the violence in this movie is among the strongest and most off putting I've seen in any film, Hong Kong or other.The movie has some nice moments and occasionally it looks surprisingly related with Martin Scorsese's impressive GoodFellas (1990) with its tightly edited montages and powerful introduction of fresh characters, and The Club is equally simple to sit through very "fast" with the Scorsese film(s). Also the soundtrack is nice and so is in Scorsese's films. One stage that stands out in the saying the everyday life of the gangster is the long but delightfully edited and interesting weight lifting sequence at Chan's apartment one morning. The Club makes me expect extremely much from the another work of Kirk Wong.Wong's filmography contains more or less masterpiece games like Organized Crime and Triad Bureau (1994), Rock n' Roll Cop (1994) and Gunmen (1988) and some others, too, and those movies that I've managed to see from him are nothing short of impressive, honest, intense and merciless. The Club is among the most memorable Hong Kong movies of the eighties and due to its universal theme and extremely powerful imagery and elements it will not lose its impact while years pass by. This is something only Hong Kong cinema seems to be able to deliver. 7/10
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