[film] The Flesh Ripping, Bullet Spraying Ballet Master — profile / interview of director John Woo …

‘The Killer was elemental Woo, the template that has relentlessly infused much of his subsequent work. A super-abundance of picturesque violence props up the usual conflict of good and evil, in which we are invited to observe not so much the clash of black and white, but the shades of grey that lie between the protagonists. Hero and villain become interchangeable; creatures of the same culture, victims of the amorphous pressures put upon them by a wicked world, equally beset by guilt, shame and regret, similarly capable of acts of selfless nobility, brothers under the skin. The hitman and the cop are two fingers on the same hand. In other words, it is a buddy movie. Add to that the love interest: the girl is a veritable apotheosis of anorak sexual longing – she is beautiful, lonely, isolated and, best of all, she is blind. No button is left unpushed. You get the car ‘n’ speedboat chases, innocent kiddies caught in the crossfire, a spectacular gun battle in God’s House with His statuettes exploding all over the shop, a close-up euthanasia shot (very matey) and a grande finale of Woo’s special trademark, white doves fluttering over the carnage. Phew.’

John Woo Profile

This entry was posted on Saturday, August 3rd, 2002 at 3:20 pm and is filed under Movies, People.

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