The trio of Ben (Tony Leung, Infernal Affairs), Frank (singer Jackie Cheung) and Paul (Waise Lee) are inseparable in 1950s' Hong Kong. But then they go to Vietnam, meet super-cool assassin Luke (Simon Yam, Full Contact), get caught up in the war, and find that when a fortune in gold is up for grabs one of them is willing to betray the others and take all of the loot for himself. It's a while later that the broken men are reunited with their betrayer to settle the long-standing score...

Originally planned as a prequel to A Better Tomorrow, Woo decided to comment on the widely publicised Tiananmen Square massacre instead, and this film has scenes with tanks and protesters that ably recall that sort of atrocity. The basic plot is also reminiscent of Cimino's highly-praised The Deer Hunter (1978), in that it follows the misadventures of friends in Vietnam, their shocking tortures in a POW camp, and a moment where one of them survives getting shot in the head.

The women in this unashamedly sentimental drama of honour amidst savagery are only incidental to the story. Ben's abandoned girlfriend Jane (Fennie Yuen), and exploited Saigon nightclub singer Sally (Yolinda Yam) have marginal impact on the male characters' motivations. What counts here are unspoken connections between the protagonists, and the pure dynamic strength of the performances, especially by Leung and Yam as the ultimately heroic Ben and Luke. It is worth mentioning that few of Cheung's music fans would have imagined him capable of playing the singularly tragic role of traumatised Frank. Such a sustained level of violent hysteria and unhinged mania would strain the thespian abilities of a star like Al Pacino, yet Cheung delivers a memorable one-man show in his scenes as a brain damaged junkie. He's barely able to function, let alone communicate, after his exhibition of raw-edged mortal fears - when Frank is faced with the cruelties of the Vietcong's POW camp - switches to blindly incoherent rage for his final, unsettling scenes of horror. Even as the film segues from wartime shocker to standard gangster antics, and drifts too close for comfort to disappointing melodrama, we never lose sight of the themes of loyalty and grace versus greed and malice.

Three friends growing up in the back streets of Hong Kong have aspirations to become successful and make better their lives. On the wedding night of Ah Bee (Tony Leung Chiu Wai) and Jan (Fennie Yuen), they don't have enough money to pay the costs. Ah Fei (Jacky Cheung) obtains the money but is attacked by local gangster Fei Keung. Frank manages to fend off the attack still clutching the money but not without sustaining a head injury. After the celebrations have ceased Ben interrogates Frank about the injury, and on discovering the cause the pair launch an attack on Fei Keung. However they go too far an end up killing Fei Keung. Now wanted by the police, gangsters and loan sharks alike, they are left with no alternative but to flee Hong Kong. They decide to take this opportunity to make their fortune by selling pain killing drugs in war torn Vietnam and bring the third member of their trio Ah Wing (Waise Lee) along to share in their success. Their priorities change however when they recognise Yan Sau Ching (Yolinda Yam), a Hong Kong singer whom is forced to work for the local gang lord Leung Yuen Sing (Lam Chung). They then team up with Ah Lok (Simon Yam) in an attempt to rescue her, though Wei's priorities remain firm and is unwilling to leave without Leung's gold. After Yan dies of a gun shot wound sustained in the rescue, Bee, Fei and Wing stray into North Vietnamese territory and find themselves in a POW camp. Our protagonists must now battle for survival.

'Bullet in the Head' was a very expensive and ambitious project for the Hong Kong film industry at the time. Sadly it failed to make an impact at the box office as the public rejected a film with such a downbeat sensibility, especially in the wake of the Tiananmen Square Crackdown, an event which would influence Woo in his execution of the film. A great shame as this very personal project is one of Woo's finest moments.

One could speculate if Chow Yun Fat had been in the cast (as was intended when it was originally written), as to whether his presence would have coaxed enough punters to see the film in order to re-coup the money spent. However, Tony Leung Chiu Wai and Jacky Cheung were hired and at the time neither were known for dramatic roles, as Tony had done mainly comedies and Jacky was known primarily for his singing career. 'Bullet in the Head' would prove to be the film to make them both bankable dramatic actors as both take the bull by the horns and produce some astounding results. Jacky Cheung received a well deserved nomination for best actor at the Hong Kong film awards for his efforts. Tony would of course go on to be one of the most respected actors of the last 15 years. Simon Yam was also just beginning to come into his own as he delivers a delightfully measured, mature and, above all, cool performance.

Taking our protagonists from small time street punk antics to street riots, taking on an organised crime syndicate and inadvertently playing their own little part in a brutal war as they find themselves in a POW camp, 'Bullet in the Head' certainly takes it's audience on a journey. As the film nears it's end you are likely to feel emotionally drained as you will feel as if you have experienced the ordeal along with our protagonists. Woo gives us a tale of brotherhood, loyalty, tragedy, redemption, greed, corruption and betrayal. At times harrowing, 'Bullet in the Head' is equally compelling. No John Woo picture of the period would be complete without lavish gun battles, and 'Bullet in the Head' is no exception. Although we are not subjected to anything as outlandish as was displayed in 'The Killer' one year earlier. This would have much to do with the poignant and almost depressing subject matter. Though what we are left with still leave most standing idle. Throw in a superb soundtrack and you have an all time classic in the making.

I have one major criticism however. The original boardroom ending was replaced after being deemed too bleak. This was then replaced with an all action car chase ending. While there is nothing inherently wrong with the sequence itself, it is unsuited to finish this particular film. This film was meant to have a sudden, hard hitting ending. One that would resonate in the minds of the audience long after they had left the theatre. What we are left with is a drawn out action sequence that allows the emotion that has built up during the course of the film to dissipate before the end credits roll. The original negatives for the boardroom ending unfortunately seem to be lost and the only known version with this ending is the now deleted Mei Ah VCD. Therefore the chances of it being re-instated seem highly improbable.

Despite my criticism about the final sequence, 'Bullet in the Head' still packs an enormous emotional punch and is very much one of the all time classics of Hong Kong cinema. A must have for any serious collector.

In 1967, three life-long friends' (Ben, Frank and Paul) lives are thrown into turmoil. Ben is getting married, and to pay for the wedding, Frank borrows money from a local loanshark. On his way to the wedding, Frank is attacked by a gang; he manages to escape, and later, when Ben and Frank seek revenge on the gang, they accidentally kill a man.

Knowing they must flee (to avoid both the law and the loanshark), the friends use Paul's underworld connections to arrange a "trip" to war-torn Vietnam to deliver various goods to a local crime boss. However, upon their arrival, they lose the contraband and are now trapped in the foreign country. Enlisting the aid of a suave gangster named Luke, they decide to rob the boss (and rescue a beautiful singer). However, their plan backfires and they are eventually captured by the Vietcong.

Now, their friendship is put to the ultimate test as they must fight for their lives...

This is one of Woo's lesser-known works (at least to Western viewers), but it's definetly one of his best films. Woo wanted to get aay a bit from the cliches (dual guns, slow motion) that had become mainstays in HK cinema, so he chose this story, which is based on part on his childhood growing up in the slums of Hong Kong. While there is a boatload of action (particularly during a daring escape feom a P.O.W. camp), the emphasis here is on the interaction between the characters. This might have failed with lesser actors, but Tony Leung and (suprisingly, given his past body of work) Jacky Cheung give this film a firm foothold that carries it above similar movies.

While parts of the movie (particularly the almost-notorious "piss drinking" scene) may be difficult for some viewers and some parts border on melodrama, this is simply not just one of Woo's finest movies, it's one of the best HK movies ever, period.

Interesting trivia:

If you couldn't tell, I'm a fan. So one night, I rent "Bullet In The Head," one of the classic Woo films I haven't seen. In many ways, it consists of the best and worst of Woo's filmmaking. The film follows the lives of three friends -- Paul, Frank, and Ben -- during the Vietnam War. All three want to become successful. They leave Hong Kong for Vietnam, hoping to strike it rich in the chaos of the war as smugglers. Everything goes wrong from the start. Soon the friends find themselves in a living hell as they watch their lives and friendship slowly spiral out of control while being subjected the horrors and violence of the war. Eventually, all three end up committing unspeakable acts to themselves and to eachother.

The premise makes for a gripping story, and in many ways it is. This film has some of the most moving and powerful scenes of any movie I've watched in recent memory. Especially haunting is a scene in a POW camp after the trio have been captured by the VC. After being tortured, Frank is forced to kill other prisoners for the guards' amusement. Frank is hysterical by what he is forced to do, so Ben steps in to spare his friend the guilt and anguish. Watching it, I couldn't tear my eyes from it. I challenge anyone not to watch that sequence and not find it wrenching. Scenes like this elevate Woo's filmmaking above your average "hail of bullets" films.

Unfortunately, some scenes get to be too much, even for Woo. I know this sounds blasphemous, but some of the battles in the POW camp remind me of something that I'd see in a Rambo film. While okay for a mindless action flick, they only serve to undercut the emotional aspects of the film. Ridiculous and inane scenes follow emotionally devastating scenes, the former completely lessening the impact of the latter.

Even though this movie doesn't star Chow Yun-Fat (Woo's most famous counterpart), the acting is pretty top-notch, especially Tony Leung's. As Ben, he serves as the emotional and moral anchor of the trio, a position that gets sorely tested. Leung's portrayal is right on, and his scenes are some of the most riveting. Of course, the acting does get overly melodramatic, but most of the time, it is quite earnest and perfect for the subject matter.

If you can get past some of the more outlandish gunfights and extended battles, and the somewhat cheesy opening sequence (which the shows the trio getting eachother in and out of trouble), you're left with a very powerful movie that shows, in often brutal detail, the effects of war on the once-powerful friendship of three young men. When the movie is focused, it's heartwrenching and haunting. Just be ready to shake your head and ask yourself "What were you thinking John?" when you're watching certain scenes.

Three friends Ben (Tony Leung), Frank (Jacky Cheung) and Paul (Waise Lee) have to leave Hong Kong in a hurry after killing the leader of a rival gang. To top it off this all happens on Ben's wedding night. The three set of for Vietnam to make their fortune and hatch a plot to steal a stash of gold from the local crime syndicate. They get help from killer for hire Luke (Simon Yam in a role originally intended for Chow Yun Fat) and also rescue a Hong Kong nightclub singer who has become little more than a slave for the triad.

The film is filled with Woo's trademark beautifully shot violence. Not only that but the story is totally absorbing due in no small part to the wonderful performances from everyone; Tony Leung and Jackie Cheung especially. Although its set during the Vietnam the story that unfolds is told from a very human and personal perspective.

John Woo's skill for film making is definitely apparent here. The sequence where Tony Leung says goodbye to his wife amid scenes of riots and exploding terrorist bombs is one of the most enduring images I've ever seen as is the introduction to Simon Yam's character which sees him carry out a hit in a nightclub bathroom. The film climaxes with one of John Woo's most memorable action scenes as Tony Leung and Waise Lee engage in a duel involving speeding cars and guns.

Very nearly John Woo's best film, its just slightly eclipsed by 'The Killer'.

Being ne'er-do-wells, they swiftly get in serious trouble and end up running to Vietnam, where they think they will make their fortune in the chaos of the war. Obviously this is a foolish idea but these three are extremely naive. Of course, this is part of their charm. They haven't experienced nearly enough to be hardened to violence and they aren't fundamentally evil. This naiveté is challenged over the course of the film.

John Woo's depiction of Vietnam is intense, to say the least. He does not shy away from showing the brutality of war. One of the things that I really liked about this film is that it avoided portraying the war as black and white. The Vietcong are certainly portrayed as sick, horrible people, but their opponents don't fare much better. We see that war is not so much about the soldiers, but about what it does to everyone involved.

It is the three's time in Vietnam that occupies the bulk of the film. Soon after arriving in Vietnam, they hook up with Luke, played by Simon Yam (in what I is one of his best performances that I have seen) and decide to rob a powerful local gangster. Soon after, they're on the run from his henchman, straight into the war zone.

Their experiences in Vietnam puts their friendship to the ultimate test. Friendship and bonding between men is one of John Woo's favorite topics, and this film is probably his best realization of that subject. The most powerful moments are not from the almost constant violence, but between Ben, Frank, and Paul. This film has been compared to The Deer Hunter, which I have yet to see. However, just by reading about it I can see that there are probably similarities.

Tony Leung Chiu-Wai is a great actor, and he does not disappoint here. Jacky Cheung, who seems to always play the buddy, is good but overdoes it in some of the more intense scenes in the movie. It's not horrible but a little more restraint would have made these scenes that much more effective. Waise Lee (?) was good but is in the film more out of a narrative necessity than as an independent character in his own right. There are, as often seems to be the case in John Woo's films, no significant female performances. The longest, Fennie Yuen's portrayal of a club singer, gets about 15-20 minutes of screen time.

Despite its flaws (some overacting and an annoying ending), this is a great movie and one of John Woo's greatest achievements. Bullet in the Head has more character development than most of his other films, but it also features several of his trademark 'ballets of violence'. In addition, there is his extremely powerful portrayal of a wartime society. Definitely not for the gun shy, but otherwise recommended.