Some of you may have noticed that, over the past couple of weeks, Tars Tarkas, Durian Dave and myself have all been literally filling the internet to bursting with Pearl Cheung Ling. Could it be that we have something planned? Mmmmmmmmmmmmmmmmmmmmmmmm mmmmmmmmmmmmmmmmmmmmmm perhaps.
positive review of it over at his site. You see, I saw the film quite a while ago and, while I have never officially reviewed it, I haven’t made much of a secret of the fact that I didn’t care for it much, either. I am always game to give a movie I’ve maligned a second chance, however. I’m a cantankerous sort, after all, and it’s not outside the realm of possibility that unrelated stressors lead me to spew undeserved rancor upon a defenseless Taiwanese kung fu movie. Hey, it’s better than kicking the dog.
Wolf Devil Woman and 1982’s Matching Escort, both of which are films that I love beyond reason. As with Wolf Devil Woman, she also wrote and produced the film, which, while pretty much putting her in the responsibility seat as far as its perceived flaws and merits, was also a pretty rare position for a woman to inhabit in the world of 1980s martial arts cinema. For that and other reasons, I have, over the course of writing about her career, developed a lot of respect and real affection for Pearl that I felt would surely color my response to DLOKF on the second pass.
“Piss off! I told you before: My name is No Name. No is my surname, and my name… is Name!”
hyper-real like myself, are downright headsplitting. I mean, I’m all for contrarian aesthetics and championing the underdog and all, but sometimes ugly is just ugly.