Retro Film Review: Infernal Affairs (2002)

(source: tmdb.org)

At the dawn of the 21st Century, the East Asian cinema industries were thriving. Japanese horror films had supplanted French comedies as a wellspring for Hollywood remakes. South Korean cinema had successfully penetrated non-Korean theatres and video stores. Each new martial arts film by Zhang Yimou was eagerly awaited by cinephiles worldwide. Conversely, the Hong Kong cinema industry, once the sole East Asian cinema industry relevant to Western audiences, seemed somewhat overshadowed by these advancements. The exception was the creators of Infernal Affairs, a crime thriller directed by Andrew Lau and Alan Mak. This film not only achieved significant commercial success and spawned two sequels in domestic markets but also had the distinction of being remade in Hollywood by Martin Scorsese as The Departed, his only Oscar-winning film.

The story commences with Sam (portrayed by Eric Tsang), a Hong Kong Triad leader, assembling a group of his young proteges and instructing them to infiltrate the Hong Kong police academy to act as his informants within the force. Meanwhile, at the academy, another young man is approached by Chief Superintendent Wong (played by Anthony Wong) and tasked with infiltrating the Triads by assuming the guise of a disgraced police recruit. As time passes, the former student, now a hardened criminal named Yan (portrayed by Tony Leung Chiu Wai), with only Wong aware of his true identity as an undercover police agent, gains Sam's trust and rises within his organization to assist Wong in orchestrating Sam's arrest during a major drug deal. However, one of Wong's top team members, Ming (played by Andy Lau), is actually Sam's informant within the police force. Ming alerts Sam, leading to the collapse of the drug deal and thwarting Wong's plan to apprehend his nemesis. Both parties now realize they have spies embedded within their ranks, prompting Yan and Ming to uncover the moles' identities.

The narrative of Infernal Affairs is founded on a simple yet profoundly dramatic premise. Screenwriters Alan Mak and Felix Chong adeptly exploit this premise by crafting a tale rich in suspenseful moments and intricate character dynamics. Yan and Ming find themselves torn between loyalty and the allure of embracing their undercover personas as reality. Directors Mak and Lau astutely recognize the story's allure, eschewing gratuitous shootouts and action sequences in favour of character-driven storytelling. One of the most gripping and masterfully executed scenes in the film eschews violence entirely, underscoring the emphasis on character development and plot over superficial theatrics—a lesson that Mak and Lau embody but others, like John Woo in Hollywood, seem to have overlooked.

Regrettably, Infernal Affairs is burdened by two superfluous subplots, each striving to humanise the protagonists through contrived romantic entanglements. Ming is married to an aspiring crime novelist, while Yan's relationship with his psychologist leads to a breach of his undercover identity. These subplots add little beyond trite symbolism and unnecessary melodrama. The unconventional conclusion of the film marginally elevates the overall impression, albeit with a touch of ambiguity.

Despite these minor shortcomings, Infernal Affairs merits acclaim. It is a finely crafted genre film that showcases the resurgence of Hong Kong cinema's former glory through its compelling narrative, skilled direction, and stellar performances. Apart from two sequels and Scorsese’s version, it was remade twice in 2009 – as Indian Telugu film Homam and South Korean action comedy City of Damnation - as well as semi-sequel in form of 2016 TV series produced in mainland China.

RATING: 7/10 (+++)

(Note: Original version of the review is available here.)