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THE
BARE-FOOTED KID
AKA:
The Barefoot Kid ||
The Bare Footed Kid
Year:
1993 Reviewer: Andrew
Saroch
The
classic Chang Cheh morality tale 'Disciples
Of Shaolin' is updated for the 90's audience and injected
with a mixture of fresh faces and veteran Hong Kong
performers. The result is an engrossing and emotional new-wave
kung fu picture.
Aaron
Kwok stars in the title role - a bare-footed peasant who comes
to Four Seasons Weavers in search of work. There he is taken
in by his late father's loyal friend (Ti Lung) who has
mysteriously changed his name and the beautiful proprietor of
the establishment (Cheung). Kwok works hard and is rewarded
with his first pair of shoes - a symbol of success in his
naive eyes - and the loving attention of a young school
teacher (Wu Chien Lien) who helps him with his literacy.
However, the Four Seasons Weaver's have bitter rivals within
the town and these rivals resort to a number of unscrupulous
means to get rid of the competition. Kwok cannot sit back and
let this happen and so uses his fighting skills to administer
justice to those causing the violence. The expected gratitude
from his friends at Four Seasons Weavers does not materialise
though and he is instead upset to find that he is reprimanded
by Lung for showing off his skills. A disillusioned Kwok finds
himself working for the opposition when he wins a local
fighting championship and he is further alienated from those
he loves. His new employers shower him with money and praise
until he is just another paid ruffian for those he once
opposed. It takes a sad twist to make him realise his mistakes
and therefore trigger the inevitable conclusion of redemption.
Disciples
Of Shaolin stands as a masterpiece and it was a brave man who
decided to remake it. Johnnie To though is a highly skilled
director whose bravery is rewarded; while not as good as
Disciples Of Shaolin, Bare-Footed Kid is an excellent film and
like its inspiration, operates of a number of levels. The
focus of Bare-Footed Kid is redemption: firstly we are
presented with the main narrative - Kwok's necessary and
painful redemption; then there is the redemption Ti Lung
searches for in his love for Maggie Cheung; finally there is
the ways Ti Lung tries to teach Kwok the hopelessness of
involving himself in the martial world. The elements of love
are beautifully presented and retain an earnestness that gives
the characters much emotional depth, especially the very
subtle love that exists between Ti Lung and Maggie Cheung.
It's also interesting to see Aaron Kwok excel in a role that
he'd probably not play today - the naive innocent confused by
the corrupt world around him. This remains one of his most
accomplished performances.
Alongside
the aforementioned elements there is naturally a good portion
of action and this too does not disappoint; the restraint of
the wirework and good choreography stand as further plus
points in this polished production. Those therefore entering
the film looking for action will be satisfied, but there is
also enough depth to impress the casual viewer. It's true that
the film is sentimental, but when done well (as in this
production) sentimentality can draw in and move an audience -
again giving the film extra dimensions.
With
all of these plus points, the question arises as to whether
it's as good as Disciples Of Shaolin. The simple answer is no,
but the film stands out as one of the hidden gems of the 90's
new-wave kung fu movement and provides superb entertainment
for even the most discerning viewer.
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