On the Edge: One of the Best Crime and Redemption Movies in Latter Times
From the moment Brother Hung’s atmospheric soundtrack begins to complement equally weather-soaked visuals in this new triad piece, you know a treat’s in store.
But mesmerizing sounds courtesy of Mr. Hung and his versatile keyboard compositions aren’t all that’s before us, something assured in part thanks to the presence of prolific director Herman Yau. His talents have previously been responsible for starting the entire Troublesome Night franchise in addition to more mainstream releases like Herbal Tea (2004), and now we have him engaged in more nefarious hijinx.
And frankly, On the Edge comes quite close to being a perfect movie, a feat stopped short only by its existence in a universe tread so many times it’s due for a tire rotation: the indefatigable realm of Hong Kong cops and robbers.
Elements of Infernal Affairs and Expect the Unexpected emerge thick and fast, albeit with a major twist and superb execution. As a complete product, On the Edge wins out, bringing back the kind of cinema HK’s vaunted wordwide reputation has been founded on.
The lead herein belongs to Nick Cheung, a truly believable and thoroughly impressive actor who rarely receives the primary roles his acumen suggests. Weaned on supporting performances thus far, Cheung portrays undercover cop Harry Sin, known to the criminal elements as Harry Boy. As the latter, he ensconces himself in a major organization headed by Boss Dark (Francis Ng in another quirky but effective appearance).
Harry does so well, he pretty much becomes a fully-fledged triad, befriending henchman Mini B (Derek Tseng of A.V fame), while totally falling for gorgeous karaoke joint beauty Cat (lovely Rain Li).
There have been, and doubtless will continue to be, stories about cops masquerading as the criminals they’re supposed to bring in, but not many reach the palpable emotional effect ascribed to On the Edge. The interaction between Harry and his various underworld associations is rendered not only authentically, but with authoritative, effective melodrama liable to keep most viewers glued to the screen start to finish.
Yet more awaits: when Harry finally meets his day of reckoning and is forced to act as law enforcer rather than loyal blood brother, a twist appears. He gets to keep his triad persona free of retribution, in complete contrast to audience expectations. Those mandate a swift reprisal, but here quite the opposite transpires. This results in a most interesting situation, where Harry walks a line among the two opposing realities, alternating between newly-returned-from-the-cold, celebrated operative and formerly-loved compatriot-turned-traitor.
Naturally, neither faction trusts Harry. Even his colleagues in the police force feel compelled to proceed cautiously, taking his comeback with a grain of salt. This is especially the case with seasoned and brutal veteran Lung, who marks one more solid showing for one of our favorites, Anthony Wong. Lung has little patience for those he considers on the wrong side of the law, a viewpoint ultimately inclusive of Harry Boy.
Unable to shake either stigma, Harry’s entire identity comes under scrutiny by others and, more so, himself. This conflict is done on a par with classics such as Serpico and Donnie Brasco, balancing strong characterization, emotive content and action like a fine-tuned symphonic orchestra, save for one brief, annoying segment recalling TV series 24 a bit too much.
Some may worry On the Edge belongs in the predictable and formulaic pile, but such pigeon-holing simply won’t do in its case. Certainly a card-carrying member of the triad genre, On the Edge’s running of a supremely tight ship raises it above the usual fare. It encompasses all the essential components, down to much-needed violence, gore and suggestive themes.
Unlike oft-touted Election, On the Edge doesn’t resort to ceremonial pomp and mysticism, nor does it shy away from the juicy stuff. After all, how can you seriously expect people to buy into a crime epic devoid of blood, guts and the occasional car chase? In that respect, On the Edge refrains from pulling too many punches. It’s as straight-faced as possible, caters to no obvious agenda, and even has cops that look and act like the real McCoy (could be because many of the extras are actual police officers, differing from other films).
While it may not be on the cutting edge of innovation, On the Edge for sure rides the crest of quality and makes a proud stand for HK cinema as it once was.
Support it, watch it.
Rating: * * * *
Directed by Herman Yau
Starring Nick Cheung, Anthony Wong, Rain Li, Derek Tseng
2006, Cantonese, 100 minutes
