Sparrow (Man Jeuk)
Johnnie To has been very loyal to his homeland. Unlike many other successful Asian directors, he has resisted the urge to head to America – continuing, instead, to make films in his native country.
His latest feature, Sparrow, is a beautiful cinematic tribute to Hong Kong, with a chic and catchy soundtrack by French lounge duo Xavier Jamaux and Fred Avril. The sparrow itself is also a charming symbol in the film, conveying a sense of lightness and freedom, in this playful tale of street crims and an enigmatic siren.
The title of the film is taken from the Cantonese term which is slang for the pickpockets who work the streets of the buzzing metropolis. To’s depiction of the orchestrated way in which the band of pickpockets operates, is a vision to behold. Unlike many of his recent films, this is more akin to a ballet than a Bruckheimer film.
It took To and his associates three years to shoot this film, in between working on other projects. It was a true labour of love for them all. How he managed to assemble the final product so seamlessly despite the time taken to film it is extraordinary. There are no tell-tale signs in the production design or the appearance of the characters.
Die-hard fans of To’s action-laden features may dismiss this film as too dramatic a departure from his regular Hong Kong crime thrillers. In their criticism of Sparrow, they risk overlooking the versatility evident in his catalogue of works. In approaching Sparrow with biased expectations, they deny themselves the opportunity of seeing the type of film that To has longed to make.
Although far less lurid than the stunning Jacques Demy musical features, Sparrow does Demy proud (look out for the amazing scene with rain and umbrellas).
Does Sparrow herald a change in direction for this stylish filmmaker? Who knows? What he does next remains to be seen.