VENICE, Sept 3, (RTRS): The fact that “Norwegian Wood” is based on Haruki Murakami’s 1987 international best-seller should encourage many viewers to give this long, elegantly shot, sporadically involving Japanese film a try.
But not all will have the patience to let themselves be caught up in 133 minutes of teenage love and sex, however gorgeous the cast.
A coming-of-age story set during the late 1960s, when all the world was abuzz with change, the Venice competition entry’s intense poetry and lush visuals should in any case bring director Tran Anh Hung (“Cyclo,” “The Scent of Green Papaya”) back to the festival scene and earn elite art house berths.

Far from the lighthearted, easy sentiments of mainstream teen movies, here the seven main protagonists suffer from depression and the kind of unresolvable complexes that make psychiatrists rich. The first suicide is Kizuki (Kengo Kora), a lithe young man of ethereal beauty, whose early demise is as surprising as Lea Massari’s disappearance in the first reel of “L’Avventura.”
Shaken by the tragedy, Kizuki’s best friend, 19-year-old narrator Watanabe (played by rising young actor Kenichi Matsuyama), flees to Tokyo, where he works part time while attending college. One day, he bumps into Kizuki’s girlfriend, Kaoko (Rinko Kikuchi of “Babel”), a silent, introverted beauty filled with a haunting, funereal melancholy, not to mention extreme mental fragility. His attraction to the mysterious girl grows until, on her 20th birthday, they make love. When he says something wrong, reminding her of her lost love, she vanishes.

Sunshine
Around this time, Watanabe becomes acquainted with the pixielike student Midori (newcomer Kiko Mizuhara), who brings a ray of sunshine into his life. Although she talks dirty, humorously taunting the somber Watanabe, Midori knows her own mind and decides to wait until the boy is psychologically free to love her.
Then Kaoko resurfaces in a remote country clinic, summoning Watanabe to her side. He lets himself be pulled between extremes by the two women, in whom it isn’t hard to read the symbols for life and death. Such is adolescence.
The second part of the film deepens as Watanabe confronts the egoism of his playboy friend Nagasawa (Tetsuji Tamayama) and condemns his callous treatment of his aristocratic girlfriend Hatsumi. About the same time, he realizes that his task is to face up to his own feelings, take responsibility for his actions and “become an adult.” All of which he does by the film’s final embrace.

Superb cinematography by Mark Lee Ping Bin creates a web of visual sensitivity that accompanies the characters on their emotional journey. From the magic ancient world of nature in Kyoto to the majestic violence of the storming sea, there is much to feast the eyes on. The well-chosen, never-trite music ranges from familiar ‘60s tunes, which tend to be abruptly cut off, to aching orchestral accompaniment. The title song is heard twice: once hauntingly played by Kaoko’s beautiful music teacher (Reika Kirishima) and a satisfyingly complete version, played over the closing credits by the Beatles.

Although one expects more from producer Gordon Chan and the director Andrew Lau of the “Infernal Affairs” trilogy — which Martin Scorsese remade into “The Departed” — “Legend of the Fist” still is good fun, a popcorn movie of epic proportions for kung fu fans.
The film feels tailored to Western palates — sure there’s violence, but it’s toned down by Hong Kong standards, and even the fighting is cut back. Chinese and Hong Kong audiences might be critical of this take on an iconic cultural hero, but star Donnie Yen is a household name in Asia. With an all-star cast and the director’s following, the film is practically a guaranteed megahit at the local box office.
“Fist” is all about Yen, who has the requisite acting and kung fu chops to play a suave, sensitive and serious badass. The martial-arts superstar slips back into the legendary role of Chen Zhen, who has had countless incarnations, the most memorable by Bruce Lee in “Fist of Fury.” Yen actually played Zhen in a popular 1995 TV series, and the years have left him no worse for wear.

The film opens in 1917 France, where Third World recruits — including countless Chinese — were brought to Europe by the French and British to help with the war effort. Most of them died on the front, a fate the noble Zhen promises to spare his friends. Just when you think you’ve seen every battle scene imaginable, Yen, who also served as action master on “Fist,” delivers the film’s best and most breathtaking fight sequence. Bayonets and bullets are nothing against Zhen’s superhuman skills.
Eight years later, Zhen resurfaces, disguised (in, ahem, only a tiny mustache) as a piano player working in Casablanca, Shanghai’s hottest nightclub. He befriends the owner (Anthony Wong, always a joy to watch) and falls for hostess-siren-singer Kiki (the impossibly beautiful Shu Qi) as he secretly leads the Resistance against the Japanese occupation of China, led in Shanghai by a ruthless Japanese general (Kohata Ryuichi).

Zhen also dons a black suit and mask and starts fighting the Japanese single-handedly as the Masked Avenger. He hovers over the city like Batman, which adds to the film’s comic-strip feel, along with the stylized sets placed in a CGI Shanghai.Lau is a rare breed of director: He has lensed almost all of his own films, and his trademark visual pizzazz is there, if not the gritty intensity of his other work.
There is nice, taut chemistry between Yen and Qi, whose alcoholic and vulnerable character hides terrible secrets of her own. The actress has made a mind-boggling 45 films in the past six years but still delivers one of the film’s best performances. The music is properly grandiose, and the cast has a blast playing heroes and bad guys.