ContactSales: The Weinstein Company, Los Angeles (email@example.com)
Premiere: China, 10 Jun 2010. Theatrical release: Early Dec. 2010 .
Produced by Phoenix Pictures (US). Executive producers: Bob Weinstein, Harvey Weinstein, David Thwaites, Arnold W. Messer, Steven Squillante. Producers: Mike Medavoy, Barry Mendel, Donna Gigliotti, Jake Myers.
Script: Hossein Amini. Photography: Benoit Delhomme. Editing: Peter Boyle, Kevin Trent. Music: Klaus Badelt (piano solos: Lang Lang). Production design: Jim Clay. Art direction: Peter Francis, Oliver Roberts. Costume design: Julie Weiss. Make-up/hair design: Aileen Seaton. Sound: Nigel Mills. Second unit direction: John Greaves. Action: Vic Armstrong. Visual effects supervisor: James Madigan. Visual effects: John Bair (Guerilla FX), Angela Barson (The Moving Picture Company), Adam McInnes (The Senate VFX). Special effects: Dominic Tuohy.
Cast: John Cusack (Paul Soames), Gong Li (Anna Lan-ting), Chow Yun-fat (Anthony Lan-Ting), Jeffrey Dean Morgan (Connor), Kikuchi Rinko (Sumiko), Franka Potente (Leni Mueller), David Morse (Richard Astor), Ben Wong (Kita), Hugh Bonneville (Ben Sanger, the editor), Watanabe Ken (Captain Tanaka), Christopher Buchholz (Karl Mueller), Wolf Kahler (German ambassador), Yennis Cheung (Sanger's mistress), Gemma Chan (Shin-shin), Crystal Yu (Li-li), Nicholas Rowe (Ralphie, the opium addict), Ronan Vibert (Mikey, the opium addict), Michael Culkin (Billy, the passport forger), Selina Lo (Mei-ling), Race Wong, Roseanne Ng (cabaret performers).
2010, colour, 2.35:1, 102 mins
Directed by Mikael Hafstrom
By Derek Elley
Fri, 11 June 2010, 11:02 AM (HKT)
Full-on, pulpy mystery-thriller, set in spy-ridden '40s Shanghai, entertainingly tips its hat to studio classics. Moderately strong outside Asia.
Shanghai, October 1941. Posing as a journalist, US spy Paul Soames (John Cusack) arrives in Shanghai from his last posting in Berlin. The city is divided into sectors controlled separately by the British & Americans, the French, and the Japanese, with the last also controlling the rest of China. When his best friend (and fellow spy) Connor (Jeffrey Dean Morgan) is found murdered - and Connor's Japanese girlfriend Sumiko (Kikuchi Rinko) disappears - Soames vows to find the killer. He learns Connor was investigating Shanghai mobster Anthony Lan-Ting (Chow Yun-fat), who works for the Germans and Japanese, especially Japanese intelligence chief Captain Tanaka (Ken Watanabe). He also gets to know Lan-Ting's wife Anna (Gong Li), Connor's undercover Japanese contact Kita (Ben Wong) and German spy Leni Mueller (Franka Potente), all of whom may have info about Connor's murder. He then finds out Connor was also investigating Tanaka and had made a discovery that involved Nazi Germany.
Short of having the Warner Bros. logo at the start, and Humphrey Bogart walk on screen and say "Play it again, Chan", Shanghai (2010) is the closest thing to an oriental version of Casablanca in colour and widescreen as you're likely to get. The surprising thing is that it pretty much works, on its own deliberately pulpy level, and even manages to pack some genuine emotion into its final section and must-make-the-last-ship-out finale. The central plot doesn't really manage to combine the main character's personal and professional quests, and some interesting side characters get beached by the tight editing; but while it's running on screen, Shanghai doesn't bore for a second.
The technical crew is as international as the city of the title: Swedish-born genre director Mikael HÅFSTRÖM (1408, Derailed) conducts the whole movie in a way that tips its hat to classic film noir but never becomes a parody; French d.p. Benoit DELHOMME (1408, Cyclo (1995)) trowels on the atmosphere with smokey lighting and loads of shadow; the churning score by German/U.S. composer Klaus BADELT (The Promise 無極 (2005), Pirates of the Caribbean) keeps the drama well stoked while not coming up with any memorable themes; Julie WEISS' costumes look lived-in rather than pastiches; and veteran British production designer Jim CLAY's re-creation of '40s Shanghai in Thailand and the U.K. (after pre-production was forced to move from China) cleverly combines an old-style backlot look with an immense amount of realistic detail.
The whole film — which comes in at exactly the running time of Casablanca — has the feel of one that has been ruthlessly pared in post-production. Because of either that, or the original script by Hossein AMINI (The Wings of the Dove, Killshot), some interesting supporting characters get less screen time than their due: Franka POTENTE's German spy, Hugh BONNEVILLE's cynical editor, David MORSE's U.S. intelligence officer, just for starters. And Amini's script lacks a genuine sense of dry humour to give some relief to the densely plotted main story and allow the characters to breathe a little beyond being genre cut-outs. John CUSACK, who starred in Hafstrom's paranormal thriller 1408, looks comfortable in a period suit and hat, and holds his own space against older, more physical actors like CHOW Yun-fat 周潤發 and WATANABE Ken 渡辺謙; but the writing doesn't give his American-in-the-Far-East character any real flavour beyond trading mildly risque quips across the dance floor with GONG Li 鞏俐's shadey vamp and Potente's more iron-jawed German spy. Strangely, it's only with Watanabe, as the Japanese villain, that Cusack establishes much screen chemistry — which does give the film's ending some emotional punch.