By Ric Meyers
I Dismember Mama ... Snuff ... evening of 1000 Cats ... those and plenty of extra like-titled examples of cinematic dementia thrilled dozens within the grindhouse motion picture theaters of the sixties, seventies, and eighties. Now, for the second one time ever, For One Week purely finds the brilliant fact in the back of the main manic videos ever made. packed with interviews and infrequent illustrations, it captures the fun of a style that needs to be obvious to not be believed. to prevent fainting, hold repeating: it is just a e-book ...!
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John kills them all and lets Sidney go in a final gesture of respect for their erstwhile friendship and 34 ● JOHN WOO’S THE KILLER Still 7 Scene transition 1: Chow Yun-fat (at Jenny’s apartment) after the hit, The Killer (John Woo, 1989). Still 8 Scene transition 2: Danny Lee waiting for an op, The Killer (John Woo, 1989). Still 9 Danny Lee as Inspector Li, with Kwan Yü statue, The Killer (John Woo, 1989). STYLE AND STRUCTURE IN THE KILLER 35 ● collegial relationship. Before the gunfight, John had been seated in a chair, smoking and waiting for Sidney (still 10).
But note that the ethos, of not squealing to the cops, and the winking knowledge that more is being said than literal words convey, are the same in both films. What Woo did not inherit from Melville is the cynical worldweariness and gray exposition that pervade much of the Frenchman’s work. In her excellent essay “‘Autistic Masculinity’ in Melville Thrillers,” Ginette Vincendeau observes that Melville’s “male protagonists are turned inwards, melancholy and deathdriven, yet glamorous and desirable” (148).
The next scene, the battle outside the church, comports with the nightclub battle, and ends with the death of all the major characters except for Li, who will clearly go to prison, or at the very least see his career end, for killing Wong, who was trying to surrender. This formal continuity distances Woo from more structurally experimental directors like Wong Kar-wai, 31 or like the more formally radical members of the French New Wave (for example, Godard and Rivette). 33 One example of this influence on Woo’s editing can be seen clearly in one of the most significant scenes in The Killer, the hit on Wong’s uncle by John.