The familiar story of a new recruit rising through the ranks of organized crime is given a punchy female Asian twist in “Snakehead.” , this first narrative feature by documentary maker Evan Jackson…
as the matriarch of a family specializing in the nasty business of human smuggling. Though it switches tone abrasively at times, and some story aspects feel a little too formulaic, “Snakehead” burns brightly when focused on the Faustian relationship of its formidable female characters. The future looks promising for Leong’s long-gestating labor of love, which opens in theaters and online on Oct. 29 following its major launch at Toronto.
With a face as blank and expressionless as her voice, Tse is herded into a brothel and told to start repaying the $57,000 debt she owes Dai Mah , boss of the Snakehead that brought her to New York and matriarch of a powerful Chinatown crime family. The question of why Tse would subject herself to such a deal is soon answered. Flashbacks and voice-over show how she landed in jail and lost custody of infant daughter Rosie eight years ago.
It’s great to watch two powerful Asian female characters taking center stage in an American crime story with strong roots in real events and characters. “Snakehead” is inspired by the life and crimes of Cheng Chui Ping, aka Sister Ping. In the 1980s and ’90s Sister Ping ran a human trafficking racket between China, Hong Kong and New York that netted her a reputed $40 million fortune.
The deepening relationship between Dai Mah and her protégé is the film’s rich and riveting emotional core. Less compelling is Tse’s rivalry with Dai Mah’s eldest son, Rambo , a hothead whose volatility and relationship with jealous girlfriend Shih have become a liability. Kang brings plenty of energy to the role, but his character isn’t fleshed out sufficiently to turn Rambo into a memorable villain.
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