Home > Film > Treasure Inn or Cai Shen Ke Zhan (2011)

Treasure Inn or Cai Shen Ke Zhan (2011)

For some reason, the summer season is associated with big crowd-pleasing blockbusters. When the sun is beating down and there are so many distractions outdoors, the studios release the films they believe will pull the crowds. In many cases, their choices are really bad. It can just be that the particular script-writing committee and associated focus groups were particularly poorly co-ordinated so the plot emerges in a chaotic state. More often, it’s obvious the cast were only interested in taking the money and finishing as quickly as possible. Whatever the reason, the summer is often the graveyard of the studios’ hopes and expectations.

Nicholas Tse and Nick Cheung finding humour in the moment

 

This year from Hollywood has been no exception. There have been some real stinkers. Looking in the other directions, there have been some good films from Europe and one or two excellent offerings from Hong Kong and China. Well, the mould has now been broken with the arrival of Treasure Inn or Cai Shen Ke Zhan from the remarkably prolific Jing Wong. This just goes to show that, whatever Hollywood can do, Hong Kong can beat if it puts its mind to it.

Huang Yi and Charlene Choi relegated to eye candy roles

 

Welcome to the wacky world of wuxia comedy. When this fires on all cylinders not only is the fighting superb, but the laughs flow as well. Treasure Inn is a classic example of how not to do it. I suppose the starting points for this pastiche were Dragon Inn or Long men kezhan (1967) and Dragon Inn or Sun lung moon hak chan (1992) which are wonderful straight fighting films set in a remote desert inn. So, as a modern director, you pick your targets carefully. This will have the Inn act as a haunt for criminals who auction off stolen goods to the highest bidders, making it a lure to all the best thieves who want the top return on their skills. In this instance, it’s all about a jade life-sized Goddess of Mercy. A gang of raiders hire a criminal mastermind to steal it for them and pass it on at the Inn. Standing in their way is an elite group of police agents led by Captain Iron (Kenny Ho). Also involved are Nicholas Tse and Nick Cheung playing bottom-feeder officers, left to do household chores by their corrupt local officers. When they insert themselves into the investigation, they are accused of being the thieves and then make a break from jail thanks to the efforts of Fire Dragon Girl (Yi Huang) and Water Dragon Girl (Charlene Choi). Needless to say, this pairs off our “heroes” — you can tell this is love at first sight because of the red hearts that burst across the screen when their eyes meet. Yes, some of the humour is that primitive. The other element of romance is between Tong Da Wei as a doctor in love with Ling Long (Liu Yang), the lady who runs the Inn.

Liu Yang floats around showing she's in charge of the Inn

 

Perhaps it’s an age thing but, when I watch a film, I want it to make sense. I can understand why the corrupt local police would want to drive the innocent do-gooders away, but why they would stay in the face of this relentless abuse is unclear. What makes this a problem is that, when the murders and theft of the statue occur, they are fast to insert themselves into the investigation and obviously ambitious to be recruited into Captain Iron’s troop. Later, when accused of being the robbers, we have slapstick torture and then the rescue by the cross-dressing ladies. There’s no attempt at explanation of why one of the ladies should be locked up with our heroes, nor why the three should be sentenced to death without any kind of trial. I suppose we have to have the ladies readily agree to go to the Inn because that’s the way love works in these films. I could go on but you should understand that, except in the broadest of terms, there’s very little logic or consistency of characterisation at work in this film.

Tong Da Wei looking dangerous in a different film

 

I might have forgiven all this and accepted the one or two laugh-out-loud moments as compensation if the fighting had been any good. Sadly, we are into poor cutting to hide the lack of good fighting sequences. You can always tell you’re in trouble when the use of sound as a weapon is so heavily featured with red blades of doom being cast off the guitar strings while a lion’s roar comes back. Even the CGI storm that rages around and eventually destroys the Inn is embarrassingly bad.

 

It’s rare I emerge from the cinema unable to find a single redeeming feature. While accepting that humour often does not cross cultural boundaries, it’s possible this film is aimed at mainland Chinese markets and they will all fall about laughing from start to finish. Certainly, much of the humour is lower common denominator and basic — as in the usual argument about who such suck out the snake venom from one of our hero’s buttocks — so if cultural stereotypes are true, this will make a lot of money. Worse, there’s little passion in any of the three romances to distract us, and the fighting fails to deliver anything entertaining.

 

So even when Treasure Inn is scheduled on terrestrial television, think twice before spending time to watch it.

 

Other films by Nicholas Tse:
The Beast Stalker or Ching Yan (2008)
The Bullet Vanishes or Xiao shi de zi dan (2012)
Storm Warriors or Fung wan II (2009)

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