Infernal Affairs

The casual viewer could have been forgiven for thinking that Hong Kong cinema ended in 1997. Little of note has emerged from the territory post- handover, the torch seemingly having been passed to other Asian cinemas – the Pang Brothers, for instance, started off in Hong Kong before relocating to Korea – and the Hollywood product of John Woo, Jackie Chan et al often disappointingly run of the mill.

It's a great pleasure, then, when a film like Infernal Affairs emerges to both popular and critical acclaim, spawning a sequel and prequel – interestingly Danny Pang returned to Hong Kong to perform editing duties on both – and the inevitable Hollywood remake.

The story begins in police college where Lau Kin Ming (Andy Lau) and Chan Wing Yan (Tony Leung) are cadets. Expelled on a trumped up charge, Chan is recruited for deep undercover work. After a few successful operations, he is assigned by his superior Wong (Anthony Wong) to infiltrate Sam's (Eric Tsang's) gang. Lau, meanwhile, has been going at things from the opposite end and has become Sam's man on the inside of the police, where he now serves as Wong's trusted right-hand.

After establishing the characters and their relationships with one another – both undercover men are respectful of their mutual superior Wong whilst their double lives are taking an increasing toll, with Chan in therapy, worried about going native, and Lau unable to confess his secret life to his girlfriend – everything explodes when a drugs bust goes wrong and both factions realise the presence of a traitor in their midst – an Infernal Affair from which none of the protagonists will emerge unscathed…

Whilst thus essaying themes of loyalty, duplicity and brotherhood familiar from "Heroic Bloodshed" entries like Ringo Lam's City on Fire – the undercover cop heist goes wrong entry famous for inspiring Reservoir Dogs – and John Woo's Hard Boiled – which featured both Leung and Wong – those expecting bloody, balletic gunplay with .45 automatics in either hand need to realise that this is a dramatic, character-driven piece.

But, crucially, thanks to the nuanced performances from all the leads – not surprising perhaps from a Tony Leung given the likes of Wong Kar Wai's In the Mood for Love but a welcome treat from Eric Tsang, conventionally cast as bumbling comic relief rather than a dangerous, ruthless foe to be underestimated at one's peril – and effective, stylish and above all taut direction from Wai Keung Lau and Siu Fai Mak it's a fair trade.

Hollywood will have a hard time topping this.