That said, Wong Kar-wai demonstrates a vast mastery of visual story-telling. Not to mention, the guy holding the camera amidst this frenetic bedlam is Andrew Lau, who would direct Infernal Affairs, thus inspiring Scorsese to remake it as The Departed. The Martin Scorsese connections are blatant, of course, with the eruptions of brutality and street life reminiscent of Mean Streets. Once Wah is visited by cousin, Ngor (Maggie Cheung), his layers of conflict increase, between his wayward buddy and new romance. While his partner in crime, Fly (Jacky Cheung), is a little out of control and an accident waiting to happen.
Our anti-hero, Wah (Andy Lau), is a debt collecting hoodlum with an aura of good guy about him. Themes of nurturing, mercy and the respect of all walks of life in The Bear ought to be as poignant and relevant in today’s world.Īs Tears Go By has a familiar feel within the crime genre.
There’s clearly an unavoidable emotional core too – the cub whimpering with a quivering paw, for instance, is only part of the film’s agonising morality. With the spine of the story comes various bouts of violence, notably between the bears and attack dogs. The cub mimics his mother’s face scratching as she digs for honey amidst bees interacting with various creatures likes frogs and a butterfly and soon taking it upon himself to befriend a grown-up male bear.Ĭonflicts are inevitable, as such with an audacious depiction of nature, when two human hunters cross their paths. From the opening moments, so much personality is given to this giants of nature. Forgoing dominant human presence and hefty dialogue, Annuad’s exquisite picture has two actual grizzly bears, one adult and one cub, as the stars of the show. The Bear has a heavy fictional flavour, and you could label this a wildlife film, but hardly a documentary. Armed with the hard-driven message that no animals where harmed. Adapted from James Oliver Curwood’s 1916 novel, The Grizzly King, The Bear utiilizes an astonishing mountainous backdrop largely in Italy and Austria to portray a 19th century North American wilderness (breathtaking work from Philippe Rousselot). French director, Jean-Jacques Annaud, was flourishing after Black and White in Color (1976) and Quest for Fire (1981) before he embarked on what would be a seven year journey to make The Bear.
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