1965 Movie Review

For F*** Magazine
 
1965

Directors: Randy Ang, Daniel Yun

Starring: Qi Yiwu, Joanne Peh, Deanna Yusoff, Sezairi Sezali, James Seah Mike Kasem, Lim Kay Tong
Genre: Drama/history

Run time: 130 minutes

Opens: 30 July 2015

Rating: PG-13

            There’s been no shortage of events commemorating Singapore’s Golden Jubilee – most of us won’t say it, but we are kinda burnt out on SG50, and it’s not even National Day yet. Historical drama/thriller 1965 is probably the most-hyped SG50 film. Set against the backdrop of the lead-up to Singapore’s separation from Malaysia, 1965 focuses on police inspector Cheng (Qi), whose young daughter Xiao Yun (Sun Yi En) goes missing. Khatijah (Yusoff), blames Cheng for failing to save her son during a racial riot, and suspicion arises amongst the Chinese that the Malays have kidnapped Xiao Yun in retaliation. Khatijah’s remaining son Adi (Sezali) is a rookie policeman working under Inspector Cheng, complicating matters. Also caught in the fray is Zhou Jun (Peh), the daughter of a coffee shop owner and Pakistani reporter Raj (Kasem).

            Over the course of 1965’s development, producer and co-director Daniel Yun has had to repeatedly clarify on what the film is not: “it’s not a political film”, “it’s not a biopic about Mr. Lee Kuan Yew”, “it’s not a propaganda film” and so on. Let us issue a disclaimer of our own: this opinion on the quality of the film hasn’t got anything to do with politics. 1965 is a bad movie when judged as, well, a movie. Intended as a sweeping historical drama of great import, it instead comes off as heavy-handed, clumsy and dramatically inert. Andrew Ngin, who co-wrote the screenplay with co-directors Randy Ang and Yun, said that the script required more than 60 revisions. It could have done with 60 more. Film is a visual medium, but 1965 is all telling and zero showing, comprising a flagrant overuse of voiceovers, wall-to-wall exposition and platitude-laden speeches. It’s poor storytelling and it’s a slog.

            We won’t deny the credit that the film’s production design is due; there is a palpable effort made to capture all the tiny details of life in Singapore circa 1963-1965. Period-accurate sets were constructed at Infinite Studios’ facility in Batam and there are many little nostalgic touches that those who grew up in that era will appreciate, in between copious amounts of F&N product placement. That said, the Singapore we see in 1965 is little more beyond a couple of stretches of shophouses, a police station and a kampong (village) – it’s a corner, not a world, sometimes convincing but never wholly immersive. The sound mix is also off, making most of the dialogue sound like an announcement over a public address system.

            The characters are uniformly dull, intended to be a microcosm of Singapore at the time, but always feeling several steps away from being fully fleshed-out. Generally, the acting is fine – Qi Yiwu’s police protagonist is as bland as wet cardboard but he tries to inject some intensity into his performance. Deanna Yusoff’s turn as a grieving, anguished mother is sufficiently compelling. As her son, Singapore Idol winner Sezairi Sezali is earnest but not overeager and is one of the more likeable characters in the film. Joanne Peh does stick out at times, her character never really coming off as authentically from that time period. Former opposition politician Nicole Seah, playing the wife of Qi’s character, turns in a more natural performance, surprising given it’s her first acting gig. Mike Kasem is an odd casting choice for Raj, requiring a whole lot more than that beard to come off as a believable Pakistani. While there is some degree of competence, nothing fits together and everything feels incomplete.

            Of course, the spotlight is trained directly on veteran stage and screen thespian Lim Kay Tong, who shoulders the responsibility of playing the recently-deceased first Prime Minster of Singapore, Lee Kuan Yew. Lim does a dutiful re-enactment of the iconic televised speech Lee gave when Singapore separated from Malaysia, but his screen time is extremely limited and Lee’s role in the plot has no direct bearing on our main characters. Lee passed away on 23 March 2015 and the film includes footage of his funeral procession cut to a sappy power ballad. This may seem like a respectful tribute at first, but this reviewer found it to be opportunistic, tacky and manipulative. Instead of constructing emotional stakes from scratch, the film opts for the easy way out, attempting to get audiences to feel something by presenting them with a recent event that will resonate with most of them. This would have been perfectly acceptable if 1965 were all about Lee Kuan Yew, but as Yun empathically stated, this is not a biopic. The further implication is that the story of every Singaporean is the story of Lee Kuan Yew, and that’s a slippery slope this reviewer does not want to slide down.

            Singapore has endured more than its share of tumult as a nation and its history is definitely ripe with heart-rending true stories of courage and tenacity. 1965 ignores all that and serves up a painfully dull, preachy, simplistic and condescending fictional story set against the backdrop of the country’s struggle towards independence. There are elements of the film that may resonate with Singaporeans of a certain vintage, but as a cogent, sweeping historical drama, 1965 is a failure.

Summary: If you enjoy being hit on the head with a social studies textbook for two hours while someone tries to cut open your tear ducts with a scalpel, 1965 is the movie for you.

RATING: 2 out of 5 Stars

Jedd Jong

            

Re:solve (决义案)

For F*** Magazine

Re:solve (决义案)

Director: Randy Ang

Cast:  Chris Lee Chih Cheng, Yuan Shuai, Mico Chang, Pamelyn Chee, Jimmy Wong, Sunny Pang, Zheng Ge Ping, Zhu Houren

Genre: Action, Thriller, Crime

Run Time: 100 mins

Opens: 27 February 2014

Rating: PG (Some Violence)

We’ve all heard the adage “actions speak louder than words” and fisticuffs and shootouts are indeed a universal language among film-goers. Ong Bak and Tom Yum Goong did a good deal for the visibility of Thai films around the world, as did The Raid: Redemption for Indonesian cinema, not to mention the scores of Hong Kong martial arts movies over the decades. Touted as “Singapore’s first action crime thriller”, director Randy Ang’s Re:solve hopes to pave the way for made-in-Singapore action movies to become a thing. These are baby steps though, and it shows.

Special Tactics Unit member Cheng Shaoqiang (Lee) is part of a raid that goes awry, resulting in the death of team leader Wu Tianle (Pang) and the dissolution of the unit. Shaoqiang’s girlfriend Wu Qizhen (Chang), who’s also Tianle’s sister, is understandably upset and the relationship falls apart. Seven years later, Shaoqiang, now an inspector with the Serious Crimes Unit, finds his past coming back to haunt him, as he investigates a series of attacks on financial firm BWB Capital. Qizhen and Wang Zheng-ming (Wong), Shaoqiang’s former teammate, now work at BWB Capital and the three reunite under less-than-ideal circumstances. As Shaoqiang and his new partner Yan Yongchen (Yuan) work to crack the case, all signs point to Tianle – the mentor and comrade who seemingly died in the line of duty – being the mastermind.

It is about time a made-in-Singapore crime thriller feature film saw the light of day, so the mere existence of Re:solve should be encouraging, but it also demonstrates how far the local movie industry has to go. It’s worth noting that the production values are solid and the look and feel of the picture is a marked improvement on that of amateurish home-grown TV “action dramas”. The action sequences here are decently choreographed, though they are few and far between.

But the film’s tone is constantly overwrought and melodramatic, emphasised by a maudlin score filled with swelling strings and lilting piano melodies. The film slips into unintentionally funny territory on a number of occasions, falling back on trite plot devices like Mission: Impossible-style “latex perfection” mask disguises. It’s also a pretty dull affair, sagging in the middle when it enters paint-by-numbers procedural mode.

The acting is just passable, Taiwanese actor Lee making for a handsome but bland lead. Chang is very much the same; at least her part is a little more than a bog-standard “girlfriend”. Zhu Houren hams it up, gesticulating wildly and wringing his hands in all of his scenes. Yuan Shuai’s turn as the sidekick borders on being whiny. Pamelyn Chee has poise to spare as the businesswoman who might know more than she’s letting on. Wong is pretty stiff and it turns out that he isn’t a professional actor and is in fact a Forex trader who executive-produced the film, so the fact that he plays an important secondary character does carry a slight “vanity project” aftertaste. TV veterans Richard Low and Xiang Yun show up and there’s also a cameo from Roger Koh, owner/CEO of the fried rice restaurant Chen Fu Ji and one of the movie’s financiers. Thankfully, the name-dropping of his restaurant, while silly, stops short of the cringe-worthy product placement that infests so many Singaporean films.

In the context of Singapore’s film landscape, Re:solve might seem like something of an achievement. Unfortunately, the reality is that this also-rans crime flick can barely compete with any of the dime-a-dozen cop movies that come out of Hong Kong. It’s a “points for effort” situation in that it’s clear what Ang was striving for, and the film does possess a degree of polish, the climactic infiltration of a hijacked cruise liner making for a decent denouement. Following that, however, the film ends with a “sothisiswhatreallyhappened” reveal, the logic-straining twist ending coming off as not quite preposterous but still really rushed, especially given Re:solve’s flabby midsection – not an ideal resolution.

Summary: Less of a milestone and more of a stepping stone, those hoping for a decent Singaporean action thriller will be at least a little disappointed by the frustratingly mediocre Re:solve.

RATING: 2.5 out of 5 Stars

Jedd Jong