In a very sparsely plotted movie, we do wonder if Zhang is going to have Qiang perform his revolution, bring some with him or is it just a snapshot of a kid not possessing tuned decision-making but at least have one tuned instinct? It IS complex, it is rather dark and uncompromising the Zhang Yuan-way. Only now his subjects open up a more breezy, comedic tone that still has its reason for transforming the way it does come end time.

Therefore, those of you who can turn on and off your b-movie sensibilities will get much enjoyment out of this Lo Wei production. It definitely does try to scare, which obviously today in 2004 doesn't register and play everything straight but creates more of a hokey and campy experience because of it. Despite that, I at least didn't find myself looking down on this as Hong Kong cinema will always be admired by me for giving their absolute all, despite how ludicrous the results would be. It's not wise to use the word merit but Devil Fetus has that, in spades, but I'll leave it up to you to find out what that actually means.

With so much skills inherited within his pictures, why did Tony Au have a problem making even MORE masterpieces after Dream Lovers? From my point of view, however much he invested himself in visuals, Au tried to be equally much a storyteller. But they were attempts, not slam dunks and while Au Revoir, Mon Amour represents a rise in quality compared to the largely abysmal I Am Sorry, it's does not exactly meet the expectations clearly in the filmmaker's head.

Setting a small story against a large backdrop, in this case World War II, is an rife with interesting conflicts within the characters and in the greater scheme of things. The film does put forth those complexities, especially when dealing with issues of unification, rebellion, if love can co-exist in any shape or form during wartimes and the effects of war on any type of people. There's a flip-flop in Au's film here, that's a major point. At certain moments, especially when first looking back at Mui-Ye and Shun's initial connection, that generates interest for the coming reels but Au rarely seems to generate emotions with his audience. Anita Mui's character showcases ache in extreme ways throughout but we're left out in the cold, looking in and not feeling the essence of what makes any of the tears felt.

In general, underdevelopment is to blame but as we roll along, Au fills up certain sections with subtleties that enhances character choices, even if only slightly beyond the basic level. Take for instance Carrie Ng's character Miss Ng, in love with security officer and Japanese collaborator Tieh (Norman Tsui) for reasons generally not spoken of. It's just passion and she even attempts to take his life at one point. Just minor twitches in the character behaviour for a moment helps the film, even makes one immersed in it. Then much crumbles as so much commentary and themes are on the nose, it's kind of condescending. Wish Tony would make up his mind.

No doubt the minor effect Au Revoir, Mon Amour has on the viewer has much to do with the craftsmanship technically. Make no mistake about it, this is a first rate production with stunning cinematography by no less than a team of four (1*). Yet the various detours into sepia toned flashbacks, colour play and sweeping camera moves feels united, capturing Eddie Ma's (2*) art direction perfectly. Shanghai was even under Japanese occupation before the outbreak of the Pacific War in 1941 the epitome of glamour and glitter as highlighted during some of the film's initial moments. This crew doesn't hesitate either to add the ugly side, including graphic violence (3*). They're aiding Gordon Chan & Liu Wing-Leung's script intentions as best they can but with conflicted Tony Au at the helm, it's a shame the fine effort isn't for an effort of the masterful kind.

While the main actors go for it mostly, they can't bring enough to materialize the warmth and heart that clearly is cemented in the script. They certainly are totally immersed in the war torn world of Shanghai but we get an odd, insecure direction of Anita Mui as she cries pretty much every two scenes. It's like watching a TVB soap and not a high budget Golden Harvest production! Japanese actor Hidekazu Akai seems to be some kind of male window dressing but has a worthwhile character arc to work with as it turns out. Representing a rare force within the Japanese oppressors that wants the best for his country but to also make co-inhabiting the city with its original citizens an integral part, he has the conscience to see past any politics and even use it to his advantage to further to plight of Mui-Ye and Shun. It's the mentioned subtleties thrown in by Au at points that also Hidekazu Akai aids the character with.

It is a step up from I Am Sorry and a valuable history lesson but that wasn't Tony Au's sole intention for his grand war drama Au Revoir, Mon Amour. Clearly closing the window for us to take in what it's like to be lovers on ultimately opposite sides of patriotic desire, it's a cold movie experience where largely the visual splendor can be considered a nigh on perfect exercise. Everyone tries extremely hard and clearly delivers something but core ingredients about a triangle of characters wanting to escape a war torn reality seems to engage only Tony Au. A moderate recommendation but another uneven strike for the director.

2008 EDIT: Having watched the Taiwan edit, it's interesting to note that it does have extended scenes, some only slight but the biggest differences are in the use of more voice over (which the flick needed) in the Taiwan edit and many scenes are either differently edited or placed at different times. I'm not a fan to the extent that I can judge if the editorial decisions make sense in each respective version though. Some exclusive footage is available in each release, even alternate events of sorts but the pick for me would have to be the Taiwan version as it plays out more clearly and now the film becomes more of a watchable, yet standard melodrama.

(1) Peter Pau, Peter Ngor, David Chung and Bill Wong shared cinematography responsibility and on his previous film I Am Sorry, Tony Au had Wong Kar-Wai regular Christopher Doyle on board. One of best assets of that film and Au certainly knows to surround himself with top personnel.

(2) The late Eddie Ma lent his talents to a number of known productions, best showcased when collaborating with Ronny Yu on The Bride With White Hair and The Phantom Lover. He also art directed The Christ Of Nanjing for Tony Au in 1995.

(3) Supervised effectively by Mang Hoi, co-star of Zu: Warriors From The Magic Mountain and director of The Blonde Fury.

No, Daniel Wu's deformed Lon is not discovered being abused by carnival people but he is a prime assassin under über-evil gangster Dragon (Patrick Keung). Taken care of by Kwan (Lam Suet), they have foolish high hopes that someday they are going to live lives. As most depraved gangsters possess, Wendy (Gigi Lai) is the sex-toy of Dragon's choice, with beating and torture to go along with her set role but she finds comfort in Lon's arms. To the extent that they hatch a plan to be together and eliminate Dragon during a Taiwan mission. Many things go wrong and the naive Lon realizes he's been duped. Presumed to be dead, one year later he turns up... for revenge!

A cheapness is undeniably resting over the production. However the combo of Wong Jing and Billy Chung in a way focuses on being good ol's exploitation/heroic bloodshed filmmakers but trying to show that they've learnt a thing or two about visuals. So the world as depicted is immediately filled with blood shot in slow motion and depravity that doesn't end on merely mentioning stuff. Also there's the totally naive character of Lon at center that learns that cynicism is the best way to go about things once you've stepped into this world and for the film (and films in general) Devil Face, Angel Heart, it's fun to see matters being taken to shameless, politically incorrect levels.

While not featuring an arsenal of kickass gunplay, Billy Chung works some slick magic out of a few scenes, opting for an over the top style but definitely a clear look at the proceedings which is only hampered by the fact that the filmmakers can't/won't go overly acrobatic on us. The gunplay is quiet, still but STILL, we cheer when we get any sort of look at it in the new millennium. Heavily cut at points, it's clear also that Billy Chung had more on-screen torture in mind but apparently couldn't afford to slip into Category III territory. We know the intent despite and that's worth cheering for too.

But it all only makes for a passable diversion to admire at points because in all honesty, there's not much refined storytelling going on here. The movie had to have been much more elaborate in the action- and violence department to make us forget that but any story element introduced, especially the cop played by Stephen Fung, mainly acts as string to connect scenes basically and the movie ultimately comes off as thinking it's better than it is. I know the real truth but I'm still fairly glad this slight display of trashy filmmaking is on Billy Chung's resume.

Oh it is a view on relationships and growing up, with its lowest times in the eyes of Sammi Cheng's Carrie shown early. Walking in on her ultra-horny boyfriend (and judge) Raymond (Lau Ching-Wan) getting it on with another woman, she does not flee immediately but sits down to eat noodles as she knows his time limit when it comes to sex. In the end, it's all about claiming her bed and dragging it down the streets of Hong Kong, searching for the right man. In a bit of an episodic structure in the way it focuses on half of the leading cast in turns almost, we come to understand that the English title is very symbolic for the flick, which is something to connect to. Chan Hing-Kar's script also echoes a similar plot from Sunshine Cops where you had media-bred cops, a fantasy for the recipients of media coverage but that fantasy of course is human. Humans also get impotent. Paul (Louis Koo) is one such.

It's here you should criticize Patrick Leung and Chan Hing-Kar because they deal with Paul Ko's impotence in a flashback that is actually a Matrix-parody and while it's true to how Hong Kong cinema thinks (or rather commercial Hong Kong cinema), you can't argue that it's right according to reality and that it's right to hinge drama on the often parodied Bullet Time-scene from said Hollywood flick. Yet this at times fantasy oriented farce is light and harmless enough for us to accept the fact that felt emotions are consciously so far removed from the film that it's ok to use whatever tools and mood you like. Cue Jim Chim as the wacky penis doctor who goes inside Paul Ko's pants and finds a little chicken. Hey ho.

So on we roll through Paul's tribulations as he tries insect therapy with added food poisoning at the end, being excluded from actually working as a cop but ultimately engaging in a fairly sweet puppy love romance with tabloid journalist Carrie. Enter the paparazzi theme and morals that come with it as she engages in a relationship with someone she was supposed to exploit (and she has exploited happily before) but true love you can't turn away from. True love also equals sex so there the record comes to a screeching halt and how long can Carrie accept love without some looovvveeee? It's fluffy, it's bubbly, it's soon Lau Ching Wan and Charlene Choi as Tabby, at center stage. As Raymond displays an skewed jealousy towards Carrie, he encounters essentially Tabby the kid that will make his flirtatious self take a vacation. And preferably forever maybe, however hard it is to admit that he is attracted to this lively, little personality. Free-spirited and very well connected with what desires are all about, Choi diverts us nicely from a potentially annoying character as there are enough subtleties there, within the commercial exercise that this is, to make us a little impressed.

Really the whole main cast does likeable antics, as desired by directors Patrick Leung and Chan Hing-Kar. And true to the surreal and fantasy-like stance to their drama, the whole quick, wacky solution that's supposed to be a character-drama and dilemma is dealt with in light ways and we're weak for it. It's easy to dislike Good Times, Bed Times but much preferable to fall for it as it represents an effort in an output that for once accomplishes the bright feelings it sets out to communicate.

In the off-beat, morbid and darkly comical opening we sense something already, mainly that of non-automatic filmmaking being present. Lee establishes Nam's (Steven Cheung) powers to communicate with spirits but he is someone who up till now just kinda hangs out with his diseased friends and closes his eyes to the actual horrific sights presented before him. What you can chose not to see, you don't know of. Yep, that statement rings true of false in actuality as the spirit world for some reason imposes on Nam's brother Tung (Kris Gu) and eventually it threatens the whole family stability. A family with the gift in Nam, going back generations...

Nam's voice over perfectly complements that he's taken a step back from what his powers actually are and it's a welcome angle taken by Lee and his writing team. This doesn't equal an inappropriate light side as opposed to the dark one that will follow. The transition works but the but's of this picture is that for the longest of time we're just experiencing quick cut (via audio and visuals) scare-tactics that is not really scary nor means anything when there's very little story strands introduced. It feels like David Lee punches about a hundred times to little effect before the actual depth and span of the story reveals itself. Thank god it does because not only are matters unaffecting, the whole picture is designed in such a foreboding manner that it's literally TOO dark. Yes, we CAN'T see dead people. And the kids standing there, they're just in our mind kids standing there. Yawn.

Clearly Lee presents rookie dedication however but when finally expanding the notions of superstition (which is of course a matter close to his audience) and the flashbacks that actually concerns a whole host of spirits with matters not laid to rest, an affecting style and story begins to form. Lee shoots green, step prints, uses black and white and probably is manipulative in actuality. But when making the Nam family the main focal point, talking of how the inherited power got lost and the way Nam has to step up the responsibility, Yes, I Can See Dead People hits notes of intense terror (now we know what we're looking at) and heartache that may on a second viewing reveal acceptance in the former half of the flick. Right now, David Lee, his non-distinct cast of youngsters (who do well enough though) and crew are welcomed to the Hong Kong cinema block for real. No red carpet treatment yet though

Opening Brothers with a shot of the bloody ending, there's always the question if a movie will deserve to come to this desperate conclusion. A faint yes is probably the answer. But Chiu, with writers that had been on his excellent The Log, goes back in time to examine, albeit in a more subdued way, initial steps into crime for the kid-versions of the characters of Yiu and Shun. Driving around in a car, they accidentally hit someone but this isn't the step into the upper class gangster world. No, the head of the organization, Tin (Wang Zhiwen - Love Battlefield) has his heart deep into fortune telling and he's been told his two sons will eventually end up annihilating each other so a separation will have to occur. Later when both grown up, Yiu (Miu Kiu-Wai - Magic Cop, Wo Hu) is the head of what was always to be an organization free of drug trade while opposing factions, power hungry characters such as Ungle 9 (Henry Fong) and his son Kui (Ken Tong) regard themselves as mistreated. When the assassination of Yiu's father Tin eventually succeeds, brother Shun (Eason Chan) is brought back to a world he's not been part of. A world where the cops, headed by Chief Inspector Lau (Andy Lau) have no hesitance in invading funerals and a world where he's beginning to be utilized as a pawn by his brother, towards something. It starts with Shun ending up behind the wheel of the car that kills Uncle 9...

Shooting in drab colours, shadows and general muted aspects, for once it's a story set in a jiang hu that doesn't contain the oddball look of the gangster world. These are mostly middle-aged to elders engaging in the power struggle and Chiu clearly demonstrates a conscious calm to the proceedings, with ambience that suggests explosive behaviour could take place soon. And it's going to be loud. Partly a frustration does set in because little DOES happen but Shun's entrance makes matter go boom for the first time during a violent bit at the funeral of their father. This effectiveness sees director Chiu be in an element he hasn't been in, playing with the big boys and in an effective manner. But as the mystery becomes clearer, why Yiu is being a bit of a dick towards Shun by involving him against his will, what's revealed is an exciting and fast moving time but not much span or depth to go along with it. When we well beforehand know Yiu's reasons, there lies little surprises in what the climax offers up and what we're left with are a couple of effective BOOM's, sharp technical direction and veteran presence in the older cast.

Which may depress the likes of Derek Chiu and behind the scenes folks such as Andy Lau but it is valid to think of big effort spent "only" generating a decent, immersing time with a gangster Hong Kong movie. Actors bring as much as they logically can but looking at Miu Kiu-Wai and Andy Lau alone, neither is on automatic and knows how to play along with mentioned, effective BOOM's of the story. Eason Chan is left a little behind though, getting in over his head, receiving little help and still has his reference performances behind him. Despite all that, Brothers isn't a shame in a sparse output and it's not a shame either that Derek Chiu has directed his best BIG movie yet. Hopefully there's still more tricks in his bag however.

Much acclaim it deserves but the film does come off as a bit disjointed and distant. Despite being a biographical picture, Kwan opts not to follow Ruan Ling-Yu from the beginning but instead the period where she was in her prime, from 1929 until her suicide in 1935. By doing that, Kwan puts us right smack in the middle of events where characters have developed relationships and the feeling is that we're a step or two behind everyone else. It's a challenge therefore for Kwan to make us safe and caught up. Which he does but the full multiple character drama seems lacking.

Kwan brings that quiethood and visual beauty from his classic Rouge and it seems like an appropriate filmmaking choice for Center Stage as well. It means a slow narrative but investing time in it will reveal a compelling look at, as Maggie Cheung puts it in the opening interview segment, a legend. Now, I can very much be less than attentive and I had no prior knowledge as to what material was deleted from the film except I did know some of the documentary interview footage was. Regardless of how much it has to do with cuts made to the film or not, out of the actual film characters and subplots, the one concerning Carina Lau's character of Chu Chu, a fellow actress, is an example of something that radiates importance. However, the friendship between her and Ruan seems thrown to the wayside and its inclusion therefore lacks purpose other than to briefly show the comrade between actresses. There are more underdeveloped characters but at the end Kwan does rebound. The ending 20 minutes gives us a much better portrayal of Ruan's ex husband Ta-Min (Lawrence Ng from Hail The Judge and A Chinese Torture Chamber Story) for instance and the dynamics between that relationship Ruan had and the one she instead pursued with studio head Tang Shi-Shan (actor Chin Han and the character himself was engaged in another marriage, a fact Ruan accepted fully).

The movie is set in Shanghai where the Chinese cinema was thriving at this time and the rise and fall of Ruan Ling-Yu is depicted in a loving way. Loving in the production & costume design and the filmmakers show a sense of pride in their actress queen, despite her flaws. Because Ruan, as depicted, was not an angel as a person. In her profession, she showed great skill and a desire to break out of stereotypical roles but her private life revealed a weakness in material things as she herself admits. Her leaving of Ta-Min is a black part of her arc even if she seems constantly surrounded by angelic light, courtesy of the wonderful cinematography by Poon Hang Sang. Kwan is not here to take sides. It's huge admiration but respect also means acknowledging character flaws. There's no doubt the impact Ruan had and Kwan firmly leaves that in audiences mind, especially when he juxtaposes the severely damaged black and white footage of the real Ruan Ling-Yu and the re-created scenes with Maggie Cheung. It's her character-journey that remains interesting to follow and Kwan does that employing his slow style, without sacrificing character traits.

Featuring both Waise Lee, Cecilia Yip and Carina Lau (who, to be honest, looks more like Ruan Ling-Yu than Maggie) in supporting roles, they of course can't outshine Maggie Cheung but it's disappointing to note that neither is put to well use. Only Tony Leung Kar-Fai (one of the most suave looking Hong Kong actors), playing director Tsai Chu-Cheng manages to register impact, despite his relatively little screen time. You can't say enough and shouldn't say enough about Maggie Cheung's award winning performance though. She is perfect and easily melts into the look, feel of the times and of actress Ruan Ling-Yu. The discussed character arc, both for its flaws and positives, is handled marvelously by Maggie and scenes showing her taking directions on the spot really echoes her skill as an actress as well, being able to change emotional beats so professionally. As with Rouge and Anita Mui's performance, Stanley Kwan has again directed an award winning, memorable female lead performance to much perfection.

Shame that not all surrounding characters does get the full treatment but I would be interested to see how it would play out in director Kwan's original cut. As it stands now, Center Stage is a compelling drama that looks at the movie making climate of the time (which is eerily similar to today's, in China) and features image upon image of Maggie Cheung's uncanny beauty. She truly was a moviestar at the time and still is, possessing the same versatility as Ruan Ling-Yu. There was no better casting choice and Center Stage will forever be remembered for Maggie despite flaws outside of her performance along the way.

2008 EDIT: Upon revisiting the film, the 154 minute cut as put out by IVL and Joy Sales reveals a good deal more worth taking in. As for my final tally of the movie, there is stuff that personally don't reach me (like the entire character gallery including Carina Lau and Tony Leung Kar-Fai but Lawrence Ng's Ta-Min gets a bit more depth via modern day interviews) but consciously and perhaps subconsciously, the story of Ruan Ling-Yi now at full length is something that grows on you. Many arguments will be put forward about the way she choose to exit this world and that's valid. So is Center Stage as a slow, at times hypnotic portrayal of an early movie industry with a figure that wanted to develop but couldn't take the poor backlash upon her.

As for additions in the longer cut, we see more re-enactments, certain camera movies are longer but most of the footage is made up of interviews conducted by Kwan with his actors and people associated with the real life events. Clearly the people responsible for the butchering didn't understand why there was such an obvious flip flop between movie events and the behind the scenes interactions between cast & crew, either via fairly extensive interviews or staged behind the scenes material. Nor can I to be honest but I decide to flow with Kwan's intentions and if only there is the actual movie with its story of Ruan to be appreciated, then that's more than enough. I wouldn't want it shortened therefore.

So after the initiated pan-Asian project Three, Applause Pictures (headlined by Peter Chan) gathered up an even hotter group of Asian directors to deliver a trio of horror stories within the feature film format. The selections were none others than Japan's Takashi Miike (Ichi The Killer), Hong Kong's Fruit Chan (Made In Hong Kong) and South Korea's Park Chan-Wook (Sympathy For Mr. Vengeance). With the first Three, despite talent involved, it was glaringly obvious that Peter Chan's Going Home was the most accomplished but since the talent level is so amped this time around, it's really Hong Kong's otherwise indie filmmaker Fruit Chan who is the outsider here. It's his contribution Dumplings that we're focusing on in this review, both the 37 minute short and the 91 minute feature edit available as a separate release (1*).

Dumplings (37 minutes)

Li (Miriam Yeung - Dry Wood Fierce Fire, Love Undercover) is a former TV-actress on the brink of turning older than she wants to admit. She enlists the services of Mainland woman Mei (Bai Ling - Anna And The King), called Aunt by her surroundings, as she is rumored to have a miracle cure that can retain youth. That miracle cure is the age old Chinese tradition of making dumplings, with the special ingredient of fetuses...

Based on screenwriters Lilian Lee's (Rouge) own novel and featuring another reunion of a crackin' behind the camera team consisting of cinematographer Christopher Doyle, production designer Hai Chung Man and costumer designer Dora Ng, Fruit Chan makes his entrance in something akin to the big league in disgusting but ultimately intriguing fashion. Chan firstly lives up the the theme of memories that has been running through Three even since its conception. With Dumplings it's youth-remembrance and Lilian Lee at the same times makes a current, true comment about the strife for perfection and youth, embodied in the most extremes of ways in and outside the movie-world. If you weren't turned off by dumplings after Herman Yau's The Untold Story, Fruit Chan and company surely have sealed anyone's decision after only 37 minutes.

It's so pleasing to watch Dumplings in many ways believe it or not though. Main one being the fact that it's very much feels like a Fruit Chan film, with suitable polish. The majority of the setting is in a run down apartment block, captured with a naturalistic but suitably gritty feel by ace cinematographer Christopher Doyle (also DOP on Going Home), adding more honed fluidity and oddly disgusting but beautiful composed images very much worthwhile and benefiting for Chan's storytelling. Hai Chung Man's production design, highlighted by the alluring sight of the cooked dumplings gets the full attention it deserves by Chan and Doyle also. You have quite a feast of gory images but Chan easily makes the viewer sick by just having characters talk of the cooking methods and also through Kinson Tsang's brilliant sound design.

And yet it is a short film that finds time for character and a message, even if Chan needs set character traits in stone right out of the gate. Miriam Yeung's Li not only has a serviceable arc for the short running time but it's a fitting tribute to Chan's skills to quickly and confidently set up her internal worry and conflict about losing her appeal, having once been hot TV property and in her husband's eyes (a grey haired Tony Leung Ka-Fai). Yeung confidently throws herself at the mercy of Chan, having little sympathy as a character as she can't accept life's evolution and she also escapes her comedy image easily. Which is one of the main concerns when any established actor or actress takes an odd genre leap. Bai Ling steals the show though with a seriously whacked out and also funny performance as Aunt Mei, apparently a very successful experiment of the brand of dumplings at hand here. Lilian Lee probably provided a simple note or two to Bai Ling; be an eccentric old lady in sexy, youth form, treating her chosen lifeline as an everyday business. Bai Ling lives up to that thoroughly in a wonderfully, quirky little act.

Again there's normally not much that can be said in 37 minutes but Fruit Chan pulls off a lot, including creating a thoroughly disgusting tale of a kind of greed in a main character that won't accept life slipping away from her. With his final iconic shots of Miriam Yeung, Fruit Chan exits, having created a questionably compelling short due to content but it's a entertaining one that sees Chan take a further important step up stylistically from his independent background (Hollywood Hong Kong started that climb). However, he's not fallen victim to commercialism. You simply aren't doing that when you're gleefully shooting a story about fetuses being used to make dumplings. Anybody hungry yet?

Dumplings (91 minutes)

But there's more...

Released theatrically around the same as Three... Extremes in Hong Kong, once again it's the only contribution to the anthology that has had an extended version. However there is such a wealth of new material at hand here compared to Going Home that Dumplings in some respects is very much a different and better movie. Within the approximately 54 minutes of added material there is some notable additions worth discussing but we won't go into spoiler territory as such.

As for screenwriters Lilian Lee's added playground, there are notable extensions of her comments towards today's beauty obsessed world (in one scene Mei talks about the content on commercial products being all lies) and the divulging of the usage of fetuses in Chinese history but really the biggest thematic exploration continues in Miriam Yeung's Li as she has a larger amount of time to build up the desperation for youth compared to the 37 minute edit. In many respects Dumplings becomes much more of a darker, twisted story with less of the twisted fun. But it's not a negative towards director Fruit Chan as he also clearly relishes the playing field along with crew such as Christopher Doyle (more odd and stomach churning shots for him) and Dora Ng (the new opening is an immediate showcase for the slightly quirky but sexy wardrobe choices for Bai Ling). Basically, a key point is that the narrative opens up the opportunity to be fuller and it is on a few key points.

Firstly there is more interaction outside of the main apartment between Li and Mei, going so far that Mei is allowed to visit the home of Li's that is currently under renovation. All at the same time as she's dealing with the knowledge of her husband's love affair with masseuse Connie (Meme). As this is more pronounced and a further catalyst for Li's craving for youth, it also means Tony Leung Ka-Fai is upgraded from special appearance to full on supporting role (and it means extended sex scenes and a brand new one!). A sleaze and full on asshole, Leung's marvelous presence is one of THE entertaining factors in this Dumplings. Early on we're even treated to the gruesome sight of him actually eating bird eggs in order to preserve his health and youth! It seems wife AND husband are obsessed in differently visible ways.

Talking Bai Ling's Mei again, she is given a more extensive background as it's explained she was a doctor in China at one point. Also she comes off as much more devious in this version, something highlighted within Three... Extremes but not as much. She contains a larger sexiness in combination with her eccentric nature and with that obviously enters more of a chilling character to boot. More Bai Ling is not a bad thing by any means. The same goes for Miriam Yeung who impresses even more when not given such a fast development. Best scenes being where she really relishes the positive effects the fetus-dumplings has on her. Finally of note is that there exist editorial decisions where some events are shifted around and we're also given a alternate conclusion for Miriam Yeung's character that doesn't really change an overall meaning but connects more to interactions with a larger part of the character gallery in this edit. I can also swear that Kinson Tsang's sound design is amped to new disgusting levels!

So lots and lots more there is in Dumplings, including more eating, but Fruit Chan maintains great interest throughout for reasons already clear in the 37 minute version. Watching essentially the same story stretched out by almost an hour makes the film slower in pace if you make it a double bill but in actuality, Dumplings is far more better realized at feature length, expanding the disgusting premise to not only Miriam Yeung and Bai Ling's characters. Even if Fruit Chan had only given us 37 minutes of his biggest project yet, it still would've meant happy days for fans of his. That his talents merge seamlessly with the bigger names Takashi Miike and Park Chan-Wook in full movie format is just icing on the cake.