Johnnie To Kei-Fung's PTU

1: Introducing the Film; Introducing Johnnie — ‘One of Our Own’

‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished films were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps financial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of films of artistic interest. Nonetheless, the films that stand out will probably display an unswerving appeal to the norms and forms of popular cinema.’ — David Bordwell, Planet Hong Kong — Popular Cinema and the Art of Entertainment L 1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ L 2 JOHNNIE TO KEI-FUNG’S PTU ‘The police and criminals are different sides of the same coin. Where there are thieves, there are police. Where there are police, there are thieves. You cannot have one without the other.’ — Johnnie To, Interview on DVD version of PTU Background: Johnnie To and contemporary Hong Kong cinema Johnnie To Kei-fung has been an unobtrusive but prolific and innovative contributor to the Hong Kong cultural scene. He is an increasingly esteemed filmmaker in Hong Kong, admired among overseas aficionados of Hong Kong action films, as well as a highly experienced film producer and the creative heart of the independent film company, Milkyway Image. However he has shunned the short-lived ‘bubble reputation’ of celebrity, relying rather on his prodigious work ethic and his impressive track record to do the talking for him. As well as being a key figure in the industry, To has been a member of the Hong Kong Arts Development Council, advising conscientiously and insightfully on cinema as an art form. While he has yet to enjoy the same sort of international critical acclaim as Hong Kong filmmakers like Wong Kar-wai and John Woo or transnational Chinese directors like Ang Lee and Zhang Yimou, To has commanded respect and admiration for both the variety of his output and his increasingly accomplished direction. His films continue to win recognition, both in Hong Kong’s own local film awards and in European festivals. Despite the local and international critical plaudits for The Mission (1999), Running Out of Time (1999), PTU (2003), Breaking News and Throw Down (both 2004), his more recent films Election I and II (2005/2006), Exiled (2006) and Sparrow (2008) and his consistent cinema work across a number of popular film genres, To has not as yet attracted quite the cachet of ‘coolness’ L INTRODUCING THE FILM 3 of a John Woo or a Wong Kar-wai in the broader consciousness of international film commentary. However, there is no doubt that his profile as a director is getting stronger with each passing year, and every new release, especially those in the gangster-cop genres, serves to consolidate this growing reputation. His earlier comedy and action-based genre films established his presence on the scene as an extremely competent director, and one capable of shooting a film within budget and according to schedule, both of which are crucial considerations in the frenetic, profit-margin-conscious Hong Kong film industry. For this reason To has never been anything but busy as a director and producer, frequently juggling up to three films in any given year. Just glancing at his extensive filmography, we appreciate his outstanding contribution to Hong Kong’s film and television output. Yet it is only in the current decade that he has matured into a major Asian cineaste, and his films have come to suggest a distinctive, if quirky, aspect of Hong Kong’s dichotomous local/global psyche, as manifest in the films of many of the city’s ‘New Wave’ of directors. Not that To himself can really be considered a part of this new wave, despite the fact that he has played an increasingly significant part in making Hong Kong films a recognisable product in the international market-place. His name is rarely mentioned in connection with any particular grouping outside his own Milkyway enterprise. In a 2004 essay Esther Cheung and Jamie Ku tackle this thorny issue of whether or not it is...