Female nudity, lesbianism; extremely bloody and graphic violence; several profanities and obscenities; superstition/fatalism; and, scatological acts of depravity.
“In Hong Kong, life is cheap, but toilet paper is expensive.” Such is the pungent observation made by the “Duck Killer”, a blood-spattered butcher who welcomes “The-Man-With-No-Name”, a young Asian-American cowboy from San Francisco, who begins an allegorical odyssey through the Wild, Wild East which forms the center of the picture. A scathing black comedy, the film is the first to receive a new self-designated “A” rating (for Adult), which beneath the subterfuge is the same as an X.
Told to deliver a briefcase to Big Boss in Hong Kong and thereby receive a free trip, The Man has a last chance to see the city before everything changes in 1997 when the British leave and Beijing takes over. However, the Big Boss is nowhere to be found. Obsessed by increasingly violent dreams and fantasies, The Man moves through an array of characters who represent aspects of the complicated city where he finds himself trapped by circumstances.
Among those he meets: Uncle Cheng, a retired singer/dancer offering only vague and sinister advice; the Red Guard, a former mainland Communist who turned in his own grandmother as a black-marketeer; a gin-drinking, motor-mouthed taxi driver fed up with the schizophrenia and cut-throat nature of Hong Kong; a high-society couple who dream of being on “Love Boat”; a prostitute; and, the Duck Killer.
The Man finally meets Big Boss and his beautiful mistress, Money, who has a secret that could topple Big Boss from power. The film thus takes a sardonic look at the vestiges of tradition, power and honor in contemporary Hong Kong. It is fiction, shot with a documentary approach and employs an unorthodox and entirely distinctive narrative style. Nearly all of the scenes are shot from the nameless protagonist’s point of view, with all the other characters addressing the camera directly.
There is next to no dialogue as the story unfolds through The Man’s narration, supported by other character’s monologues spoken to him. Moreover, these monologues contribute nothing to the story, but are instead there to speak about Hong Kong or the characters themselves.
There is lots of blood and gory violence, female nudity and lesbianism, profanities and obscenities, even a scene in which the eating of feces is portrayed as heroic. Complain to any theater which plays this grotesque movie.