Flaming Brothers DVD is a hong kong movie produced in 1987 Cast by Chow Yun Fat, Alan Tang, Pat Ha, Jenny Tseng & Patrick Tse.FLAMING BROTHERS dba USDOT 2. COLONY, OK 7. 30. For only $4. 9. 9, you can access all premium data about FLAMING BROTHERS. Reports include: Warning messages. Email address. Key contacts listed. Chameleon carriers with same or similar information. Roadside inspection reports. Vehicles owned including VIN numbers. Buy Flaming Brothers on Amazon.com FREE SHIPPING on qualified orders. States (lanes) traveled. DOT Insurance information on file. Order Company Report. You will be emailed carrier details including the key contats that we have on file for FLAMING BROTHERS. Not all companies have key contact information, inspection data or insurance on file. The information you see on this page is what you will get. All payments include sales tax. Not all information on file will be emailed to you. Review: Flaming Brothers (UK - DVD R2)Introduction. Every film industry has an icon; every icon has a back catalogue. Watch Flaming Brothers full movie online in best HD 1080p. Streaming the movie: Flaming Brothers from your PC or tablet. Click the video, free signup to get an. It looks like the email we have in your account is. Flaming Brothers (Jiang Hu Long Hu Men) - Directed by Tung Cho 'Joe' Cheung. With Alan Tang, Chow Yun Fat and Pat Ha. Read the Flaming Brothers movie synopsis, view the movie trailer, get cast and crew information, see movie photos, and more on Movies.com. Such is the case with Chow Yun- Fat and Flaming Brothers, not usually the first film title to trip off the tongue when considering the film contributions of Hong Kong’s highest profile acting export. This Alan Tang produced vehicle was made two years before Chow Yun- Fat’s big international break in The Killer and is an intriguing addition to the . Stealing to survive is a way of life for these two enterprising urchins although this cutthroat culture doesn’t always sit pretty with Ah Tien, particularly when he is caught stealing rice by Ka- Hsi. Her ecclesiastical upbringing by the nuns of the island prompt her to forgive Ah Tien’s indiscretion; in return for a regular supply of food and the ritual of grace before eating he promises to stop stealing. This idyll is shattered when Ka- Hsi has to leave Macau for Hong Kong. Once again Ah Tien and Alan must fend for themselves; after an unsavoury incident in which they come into contact with a gangster for the first time and having seen the fear- induced respect the criminal commands the die is cast. Flashing forward twenty years, the dynamic duo has made it good, now rising stars in the Macau underworld. On the opening night of their newest club Ah Tien (Chow Yun- Fat) and Alan (Alan Tang) come face to face with the incorruptible police chief (Philip Chan) who vows to clean up their operation. Worse news is to follow when Macau kingpin Kao (Patrick Tse) orders his drugs to be sold from the brothers’ outlets. Recompense must be paid when Ah Tien and Alan kill several Kao underlings as a polite . Alan heads to Thailand to secure arms from a gunrunning operation and meets a sassy nightclub singer (Jenny Tseng). Meanwhile, back in Macau Ah Tien unexpectedly runs into Ka- Hsi (Pat Ha) and her pious purity provokes him to reconsider his way of life once again. The brothers are fatefully split upon Alan’s return to Macau but Ah Tien finds that his simple married life with Ka- Hsi is under threat as his past catches up with him after Kao reneges on the deal and Alan needs his help to escape the underworld alive. Robinson in the 1. Flaming Brothers to suggest that this film is any different. Yet, while this is for the most part accurate, there are subtle differences which, even though not all of them are pulled off successfully, are presumably down to the hand of the esteemed Wong Kar- Wai as screenwriter. Rather than a simple ABC shoot- . Alan’s liaison with Jenny and Ah Tien’s life changing experience with Ka- Hsi throws the central male pairing into stark relief. Splitting the brothers in different geographical locations entirely is a nice touch in illustrating the burgeoning distance in personal beliefs developing between them. In this way the narrative does seem egregiously episodic with an especially obvious three act structure that suggests Wong Kar- Wai deliberately designed it as such. What should be questioned is the script’s wild shifts in tone. The action sequences take on an earthy grittiness with more bullets than ballet, slightly away from John Woo’s superior A Better Tomorrow from which it is apparently inspired. A torture sequence involving the killing of a child is one of the most chilling you’ll ever see. Alan and Jenny bicker like a couple from a screwball comedy. Ah Tien and Ka- Hsi emote all they can in a heart- rending romance. Most astonishing of all is a pseudo- musical sequence in which Ah Tien dons make up to entertain some old folks. To its’ credit, Flaming Brothers may never be leaden but it is lumpy to say the least. Perhaps an advantage of this uneven narrative is that, unusually for a Hong Kong movie, the female leads get plenty of screentime. Jenny Tseng blusters her way through a version of herself that plays like an Asian version of Bette Midler while the excellent Pat Ha is remarkably restrained in her religious persuasion, making the most of a quiet role to beg the question why she hasn’t been seen onscreen more often since 1. That said, it would be patently untrue to suggest that Flaming Brothers is not a movie by men, about men, for men. The homoerotic subtext could rarely be more overt, even going so far as to prompt Jenny to bait Alan in two of their exchanges by challenging his sexuality. While not as misogynistic as Peckinpah (whose immense shadow casts a pall over the slo- mo shootout sequences), the women are allowed to shine until being bundled offscreen as the men go about the business of being . A Better Tomorrow has already been cited but nods must also go the The Wild Bunch, The Godfather, Butch Cassidy And The Sundance Kid and, most shamelessly The Terminator in which a couple of shots are reproduced frame for frame. Keen to make the most of talented cinematographer Jingle Ma, Cheung has conceived many a striking backdrop to the action although there are times when art seems to have become artifice; one scene in particular looks gorgeous but takes place at the beach because it would look great rather than serving any narrative purpose at all. As such, the use of locations is striking and provides a welcome relief from the usual Hong Kong cityscape. In particular, the use of Bangkok’s Chao Praya river is inspired and the Thai capital’s bustling streets provide a decidedly different backdrop to a tuk- tuk chase which, due to the nature of a 1. In the foreground, Chow Yun- Fat and Alan Tang make an eminently watchable central pairing. Chow Yun- Fat cranks his natural charisma into top gear to put his partner in the shade; not once will you catch him acting whereas energetic producer Alan Tang’s matinee idol looks can’t mask the fact that he’s not an enormously talented performer. Credit also must go to Patrick Tse who gladly chews any available scenery with gusto as big boss Kao. Oh yes, what scenery there is to get through! Perhaps at the behest of Alan Tang, the costume and set design is, with the exception of Chow Yun- Fat and Pat Ha, uniformly hideous as the garish primary colours firmly root Flaming Brothers in 1. Oddly enough, or not as the case may be, this is a large part of the film’s curious charm. Video. Given what the audience has come to expect from a Hong Kong Legends DVD release, Flaming Brothers suffers slightly in comparison to more illustrious previously available products from the label. However, with HKL setting the bar so high for Hong Kong films that may not have been cared for in the most thoughtful way, this is by no means a bad transfer. Anamorphically enhanced at a ratio of 1. Contrast levels are fine its definitely doubtful that Flaming Brothers can look any better than this. Audio. HKL have pulled out all the stops to provide a Dolby Digital 5. Cantonese language. Given the state of the original audio elements, it’s a commendable effort with a clean presentation that bears no hiss or crackles. However, the sharpness of the soundtracks lays bare the origins of the movie having been recorded without sound as the overdubbed dialogue and effects (particularly the limp sound library gunshots) appear hollow and there’s not much channel separation during the action sequences. Very little use is made of the rears as even the sparse music is fed from the front of the soundstage. At least with the balance so in favour of the front speakers the dialogue is always clear despite having plenty of bass to the male voices. An alternative English dub is also available that should be avoided if at all possible. The voice actors are truly dreadful with lip- synching woefully wide of the mark. Unforgivably the English dialogue departs radically from the original Cantonese (Ah Tien is renamed Gary for a start!) and some of the essential interplay of addressing one’s superior in the Oriental underworld is abandoned altogether. A prime example of why dubbing just doesn’t do justice to the original material. Extras. Any DVD benefits from a Bey Logan Audio Commentary and this release is no exception. Logan can be reliably called upon to get through an entire movie dispensing essential information seemingly without drawing breath and this is the case with Flaming Brothers. Beginning by sketching the background to the film in the context of the boom in Hong Kong gangster movies caused by A Better Tomorrow, Logan goes on to detail some of the more perplexing aspects of the production. For a puzzled Occidental audience, Logan reveals not only just why Macau is the definitive logistical and narrative location for Flaming Brothers but also the reason behind Chow Yun- Fat’s use of Anita Mui war paint style makeup in the old person’s entertainment sequence. The commendable commentator focuses on the development of Alan Tang’s career in trying to become a Dai Gore (literally . Having spoken at length of him in previous commentaries, Logan skimps a bit on Chow Yun- Fat and in this respect picking up a copy of the HKL’s < a href=”http: //www. The Killer< /a> DVD would be more beneficial in learning more about the superstar. Next up comes an Interview With Director Joe Cheung. With a duration of a healthy 4. Despite not speaking in English, the director is afforded English subtitles and expands on aspects of Logan’s contribution while offering insight to the few areas that the film critic didn’t have time to cover! Tackling the question of melodrama in Hong Kong movies, Cheung also cites the influence of European films in the making of Flaming Brothers, particularly Le Samourai and Is Paris Burning? For their contributions to Flaming Brothers due reverence is given to Wong Kar- Wai, Jingle Ma and Chow Yun- Fat with Cheung pretty scathing about Alan Tang’s acting ability. The director goes on to focus on Hong Kong cinema as a whole.
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