Shanghai Noon
Release Date: May 26th, 2000
Cast :
Jackie Chan - Chon Wang
Owen
Wilson - Roy O'Bannon
Lucy
Alexis Liu - Princess Pei Pei
Director: Tom Dey
The buddy film has been a staple in Hollywood at least since Butch and Sundance first smirked at each other and jumped off of a cliff. The typical blueprint for these movies involve two people, from differing cultures or backgrounds who must learn to work together to achieve similar or common goals. Through the years, there have been successes like Lethal Weapon and 48 Hours, and failures, such as their subsequent sequels. Success, and or failure is directly proportional to the chemistry the two actors have, and good the story is that they are thrown into. Shanghai Noon adds a new twist to the buddy genre. The movies use the old West as the setting, something that last summer’s Wild Wild West tried, and failed so miserably at. However Dey raises things up a notch by making a movie that knows how to have fun intelligently, yet never completely take itself so seriously.
The plot in this film exists solely as a framework for the situations and performers. If the plot is weak, or poorly written no amount of physical humor or slapstick laughs will save it, In this film, the plot sets the foundation upon which the films succeeds. Chan is Chon Wang, the name itself being the first of many tips of the hat to the classic westerns that this film pays tribute too. He is a member of China’s Imperial Guard, sent to America to rescue a kidnapped princess. He has not achieved the greatest successes, but has always been a man of honor, and now he feels that his way to prove himself is by undertaking this mission. Along the way, he encounters Roy O'Bannon, a train robber who sees job as a means to fame, fortune and lots of chicks. He’s not necessarily a bad man, just one looking for a way to survive, and probably inspired by tales of Billy The Kid and other notorious outlaws. Of course the two don’t hit it off immediately and the movie builds their partnership via some great sequences, including a bar room brawl and visit to a “house” to gain information which results in a great bathtub/drinking game. Once together, they try to save the girl, beat the bad guys, and ultimately, end up with a happily ever after.
Chan brings his playful energy and combination of fish out of water and physical humor. In all of his films, both the successes, and the failures, he is having much more fun than it seems should be allowed by law. His fight scenes, this time involving creative uses of horseshoes and antlers, are always full of exuberance and originality. One example of Chan's multiple appeal happens a few minutes in. We are given said fight scene, involving the resuce of a young Indian girl from warriors. Reminiscent of Buster Keaton, his actions cheers, gasps, laughs and definitely smiles. Follwing that, Chan is invited around the campfire, where his charm, wit, broken English, and disarming smile make for one of the movies many side-splitting moments This combination of physical prowes and disarming charm is rare in movies, but is also the main reason for Chan's worldwide appeal. However, in a lesser film, like Rush Hour, Chan's presence wouldn't be enough without a yin to his yang. Chris Tucker wasn't it, but Owen Wilson definitely is. This could be the breakthrough movie for Wilson. ince Bottle Rocket, Wilson has been underused and wasted. His style of relaxed humor combined with his sharp tongue fit fits right into the silver screens first surfer-cowboy. He is at times, heart-felt, smart, sarcastic and funny, all without changing expressions, but rather tones of voice. This is the same kind of charm that he displayed in Bottle Rocket, but lost in The Haunting, and completely misplaced in The Minus Man. Together, the two work off each other, with both playing straight man and pitchman dependant upon the situation. In a movie that requires near perfect timing and delivery, these two hit the bull’s-eye. Add in a spunky performance from Lucy Liu as the princess, and two bad guys who get in on the fun while getting to deliciously scowl and chew scenery, and the recipe for success is complete.
Ultimately, Shanghai Noon is the summer’s greatest unexpected surprise. In a film that could have been silly and brainless, going the easy way out, it kicks things up a notch by honoring its predecessors while having fun doing it. While the film is far from perfect, throwing a curious storyline invovling an Indian wife, and totally predicitible, it is sure to be funniest, most entertaining pieces of cinema to come along this year. It rises above the cliche's and failures of its predecessors by remembering one simple premise that most of today's filmmakers seem to have forgotten. Movies are made to entertain and be fu first and foremost. This does not always require juvenile tactics or gross-outs. Future filmmakers of Hollywood take note while watching Shanghai Noon because this is how a Hollywood comedy should be made, by showing how to make audiences smile, laugh and generally feel good when leaving the theater afterwards. The fuse with it’s opening sequence, tongue is planted firmly in cheek throughout, the winks and nudges are numerous and plentiful and and overall, Shanghai Noon never lets up until the dust has settled. Kick back, relax the brain and enjoy this one for all it's worth.
($$$ out of $$$$)
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