NYAFF XX Review: Chan Kin Long’s HAND ROLLED CIGARETTE, A Story Of Those Made (And Unbroken) In Hong Kong
The reception is a hugely earned one this year, by and large, for actor and film multi-hyphenate Gordon Lam with currently four films slated to take the floor at this year’s New York Asian Film Festival. Our focus here will be on his headlining role in actor Chan Kin-long’s feature directorial debut, Hand Rolled Cigarette, one of several recipients of First Feature Film Initiative, Film Development Fund back in 2018 and as of last Fall, host to seven Golden Horse Awards nominations, including Best Leading Actor, an awards’ first for Lam.
Hand Rolled Cigarette presets its story with the first of multiple flashbacks, firstly to 1996 during Chiu’s (Lam) active service in Hong Kong Military Service Corps. The film denotes that by the time of Hong Kong’s handover from British-era rule back in 1997, there were a number of British-Chinese serving in the Corps who weren’t granted British citizenship, and were instead left to their own devices. This no less includes Chiu and at least four other members of his squad, most of whom have otherwise managed to survive the economic turmoil in the years since.
Chiu’s own sustenance stems from relegating to life as a triad underling for Boss Tai (Ben Yuen), working mostly to pay off the millions in debt that he owes. His latest role comes in mitigating a deal between Tai and a Taiwanese turtle smuggler named Pickle (To Yin-gor), for the purchase of 100 turtles, and for the most part, the deal is an initial success with all parties in agreement with prices and arrangements. Just short of paying him his commission, Tai hands Chiu a turtle given previously by Pickle to retain his services.
Meanwhile, Mani (Bipin Karma), a South Asian immigrant living within the vicinity of Chiu’s residential area, finds himself in a world of hurt after stealing a bag of drugs in his cousin’s possession. Trouble is, the bag is worth millions, and its pending owner happens to be Boss Tai. With nowhere else to turn, Mani sneaks his way into Chiu’s home and pleas with him to allow him a safe haven away from Boss Tai’s goons, led by the heavy-hitting Chook (Michael Ning). The real crux of the story begins right then when Chiu reluctantly accepts, and the journey ensues as they learn to forge a friendship beyond their differences and circumstances, and the ultimate price of that friendship when lives are on the line, at the behest of criminals with no real measure of honor.
Chan’s focus with Hand Rolled Cigarette is an admirable one, spotlighting the diaspora among British-Chinese and other immigrants in the wake of the Hong Kong handover. The role of Chiu’s is not unlike those in present day Hong Kong where the lines between living and surviving are so blurred that morale and methods of income are hardly worth questioning. The only real area of doubt that truly haunts him most days, lies with the suicidal death of one of his comrades back in 1997 after an investment gone bad, which his surviving comrades, Tofu (Tony Ho), Wood (Chu Pak Hong) and Wah (Chin Siu Ho) still blame him for to this day.
Things pick up inevitably when both Mani and Chiu finally catch a break that could pull them both out of harm’s way until Boss Tai gets lucky and starts wielding his power. The plot thickens even further near the final act when Pickle’s partner shows up, thus bringing some of the film’s thematic elements in the moments leading up to a bludeoningly brutal, climatic sequence, followed by a one-shot action sequence with all odds stacked against Chiu in the process. The fight scene is certainly something right out of Park Chan-wook’s arsenal and doesn’t try to hard to be anything more than it is, making the sequence all the more compelling, gripping and exciting to watch with Lam taking all comers, come hell or high water.
Karma’s character isn’t without his redeeming qualities, though it’s easily understanable why Chiu would be within his rights to refuse him in the first place. Mani isn’t the most inclined to do what he’s told, especially when after Chiu emphatically implores him not to touch or go near any of his belongings, save for the couch and the bathroom. Par for the course though, it’s Mani’s devotion to his embattled younger brother, Mansu (Anees), whose inability to avoid picking fights with classmates at school only pushes him closer to explusion. It’s another pivotal moment in which Chiu takes the wheel, which adds to the sympathetic drive behind his character’s toil at redemption.
Chan’s freshman outing with Hand Rolled Cigarette bustles with a creative drive that leans on largely smart direction and pacing, led by a solid cast with an actor in Lam whose performance absolutely shines. His scenes with Karma are well done and carry the film aptly with coherence and consistency, and lend a fitting view into life for folks unfamiliar with life in Hong Kong, barring the escapist crime thrills and entertainment. One moment that didn’t sit too well with me was when Chiu gets philisophical with Mani about the societal struggles among races; As someone living as a minority in America, I was keen on observing this notion much differently, therein underlying at least one other factor in understanding the world through a more interpersonal, Anthropological lens.
Transcending isn’t how I would completely describe Hand Rolled Cigarette, though it’s certainly a package deal. Topped with noteworthy noir cinema by Chan, Lam and the rest of cast for Asian and world moviegoing audiences to enjoy, this film ought to serve as a fine entree for Lam’s award festivities to come.
Hand Rolled Cigarette is currently screening as part of the line-up for this year’s hybrid installment of the New York Asian Film Festival through August 22.
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