Jackie Chan's Police Story
by Ryan Simpkins
Last night, I decided to drink and watch Police Story with my friends (Criterion Collection just had a sale). The moon was high and vibes were chaotic as we rushed into Safeway at 10:30 PM on a Monday night looking for chips and beer. First person I see is a guy who I only kind-of know, just a bit. People make me feel flustered, especially guys who I only kind-of know and tried to flirt with one time three years ago at a bad party, so I decided to get away from that potential social interaction. I dove into the chip aisle, only to see a guy I was friends with the weekend of my freshman orientation where we only bonded over smoking weed and how I was completely terrified of college. He has become one of those “going to pretend I’ve never met you before” people I see on campus and avoid for my social anxiety’s sake. And here he was. Blocking me from hiding from the other social interaction I was avoiding. In the chip aisle.
I decided to go back and talk to Jack.
It went fine, convo was pleasant, and I told him about our plans to drink and watch Police Story (cause Criterion Collection just had a sale). So then Jack goes, “why is that Criterion?” And, honestly, valid question.
For those of you who don’t know, Police Story is a 1985 cop-action-comedy starring, stunt choreographed, written, and directed by Jackie Chan himself. My boyfriend thinks he’s cute, my favorite director loves his work, apparently he’s politically weird but idk, I just know his animated TV show and now, I guess, Police Story. I’m not going to try to explain the plot to you, because honestly, I do not remember. Chan is a cop, he’s bodyguarding some lady, and the lady is also working for the bad guys. Something to do with a court case. Anyways.
There are multiple reasons why this crazy fucking movie belongs on oh-so-sacred-and-special and film-twitter-deemed-holy Criterion Collection. To start, the film was fully conceived by one of the greatest stuntmen to have ever lived, and so the simple form of filming is brand new. His action sequences are genuinely incredible, mostly existing in few long shots with intense zooms to accentuate context, intensity, or perspective. A close-up on Chan will zoom out to reveal an entire city block of fighting men. A landscape of a bus speeding by shoots in on a minuscule Chan climbing the landscape, the now extreme close up revealing that he just missed the bus he’s been chasing down. It’s like he understood the theory that long shots are the only true artistic film form and combined it with snapchat technology. The feats themselves are so undeniably unbelievable that we would jump from our seats and yell, my boyfriend’s housemate coming down multiple times to ask us to quiet down. At one point, Chan jumps down multiple stories by sliding down a string of fairy lights, electricity exploding around him as the bulbs burst. I think he wanted to show, with his long shots and extreme zooms, that these stunts were truly practically and really him, giving credit to the stuntmen who perform them.
These stunts are fun to watch not only due to the unfathomable acts performed, but because Chan really does have an aesthetic sense of style. Every set piece and character is color blocked in primaries, one chase scene consisting of one all green, one all yellow, and one all red car. A village literally collapses as Chan and the goons plow through it in their cars, bright blue buildings and huge red awnings falling into a colorful rubble. The characters themselves are bright and stylish, wearing pale yellow turtlenecks or all cyan jumpsuits with a flaming orange scarf. Police Story is a fun film to watch, your eyes entertained endlessly. That being said, there are also plenty of valid reasons to question why it was given the Criterion esteem.
Chan excels in style and action, but any moment where the film tries to be anything other than action (Chan, too, trying to shake off his action star role in moments for intense drama or comedy shtick) falls awkwardly and confusingly flat. For example, there’s a scene where Chan wears a very noticeable outfit, followed by a scene where someone else is wearing the exact same outfit. But no one says anything? There are many moments where a character will cross a line with a woman (saying something offensive, physically attacking her, sexual harassment/assault, etc), and the women or characters around her will not acknowledge. There’s a scene where Chan forgets that it’s his birthday, comes home to a surprise party (where every single guest is a woman), and has cake thrown in his face by offended women multiple times. Like, three times. It’s not an action scene. Why does he have so many cakes?
There’s a scene halfway through the movie where Chan, for some reason, is left to watch a whole police station alone. As the scene explores, one man manning all the station’s phones is a hard job, so Chan juggles between phone calls, accidentally referring to one caller as another or hanging up when he meant to hit hold. He eventually gives up and hangs up every phone, only to realize the confusion has left him in a web of phone lines, tangled in a comedic mess. It’s impressive that he envisioned such choreography, and the physical comedy is pretty funny. But the calls Chan ignores are literally women being raped or beaten by men. And Chan just eats his ramen.
That pretty much sums up the whole of Police Story. Chan performs some flashy and well-shot stunts that leave you asking how he did it, as women suffer at the expense of a joke. At least he nailed the depiction of cops abusing their power and ignoring their duties to serve themselves. Maybe that’s why they put it on Criterion.
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