An interesting instance of popular Global Cinema that does not primarily address a Western audience, SPL2: A Time of Consequences is a very loose sequel to Yi Wai-shun’s drama about police corruption, SPL or Kill Zone (2005). The film jumps from Hong Kong to Thailand through the China Seas and unfolds in four languages. I was thrilled to see that it’s had a mainstream if limited release through Cineworld — it’s been a smash hit in Asia — and I rushed to see it.
Watching SPL2: A Time of Consequences reminded me of Carlos Monsiváis comment that melodrama is easy and addictive. It is easy if, like here, you have a young child who will die unless she has an organ donor and other children who are being senselessly kidnapped and brutally killed for their organs: I dare you not to feel. It is addictive, in spite of the crude way they are fictionalised and narrated, because these films seem to speak about and to a more recognisable world that more sophisticated films often eschew. This is a world where friendship, family, love and other bonds forged through shared struggle are the only protection against the nightmarish brutality and injustice, sometimes random, that pervade everywhere and persist past the film’s conclusion. It’s crude but most effective.
The plot reminded me of Arthur Laurents comment that plots were easy because all he had to do was come up with a set of characters, throw them into conflict and then realign the ways they reconnected through their struggle into a conclusion. Let me say just say here that there are two brothers: one who’s built his fortune on illegally harvesting organs (Louis Koo); the other, the only one who can match his brother’s blood-type; a prison guard in Thailand with a daughter needing a transplant (Tony Jaa); a Hong Kong cop with a heroin habit (Wu Jing) who ends up in a Thai prison and is the exact match for the daughter: the uncle of the Hong Kong cop (Simon Yam)and a martial arts wiz of a prison warden (Max Zhang). Throw it in the air, put it back together, and you’ve got a serviceable plot.
But plot is the least important part of these films. The reason why they continue to enchant is the action. Here both Tony Jaa and Wu Jing are superb at demonstrating their martial arts in some sublime action sequences where we get to see their art in full flower: Li Ching-chi, who directed the action set-pieces, has the wit to allow us to see their bodies extended in motion to complete an action before cutting on to something else, thus allowing us to appreciate their grace and skill. The stars are very charismatic with and without movement, which is a plus. There’s a slight suggestion of homophobia in the way the villains are coded as gay (a tender fingering of a tie between biggest baddie and second biggest baddie) but it’s brief. The film won the Hong Kong Film Award for Best Action Choreography, and one can understand why. I liked it.