*SPOILERS
AHEAD*
Sequels
aren’t as common in martial arts cinema as other genres (at least not
for U.S. fare), and ones within the direct-to-video realm are
similarly rare. While China
O’Brien II was
shot simultaneously with its predecessor and therefore a
guaranteed
release,
the original’s success assured that a sequel would indeed be in
demand. Sadly, this is an
instance
where embarrassing stereotypes about sequels indeed
apply.
While
the original China
O’Brien
was a simple but endearing adventure that established
Cynthia Rothrock in America’s martial arts movie scene, China
O’Brien II
rings hollwer.
The circumstances behind
its creation
ensure that its production values and action content are as strong as
its predecessor’s, but an
uneven story and an unambitious
screenplay go a long way in making this the inferior flick.
The
film opens at night with a low-key soundtrack and
a
convoy of cars making its
way through a forested area. Things pick up soon, as the
convoy
divulges
a slew of police officers who’re
hunting
the story’s villain. Escaped convict C.Z. Baskin (Harlow Marks) –
ex-Special Forces operative and drug smuggler – shoots several
officers before turning up at a hideout with his sizeable
gang
of Vietnam veterans.
He lays out his goals in
a straightforward way:
he wants
to kill the judge, prosector, and detective responsible for sending
him to prison, along with a former teammate who betrayed and stole $5
million from him. Barely five minutes into the movie and we already
have enough information to determine that the hero-villain dynamics
have flipped: whereas
the first film featured our heroes attempting to topple a villain
who’d
entrenched himself in the system, this one casts the heroes as the
establishment and the villains as outsiders. We’ll
see soon
enough that
such a reversal actually renders our protagonists more vulnerable
than before.
Baskin
succeeds in having
his personnel eliminate
their
first three targets in short order,
treating
us to
a convoluted scene
where the
judge is murdered while participating in a magic act. The final
victim, Frank Atkins (Frank Magner), is living
under
the Witness Protection Program in the same town where Lori “China”
O’Brien (Rothrock) is receiving a commendation for ridding the place
of organized crime. Also present
are her returning cohorts Matt Conroy (Richard Norton) and Dakota
(Keith Cooke), and we see that their collective
problems
have become significantly less drastic
in
recent times:
while Dakota beats up a couple of men harassing a woman (one of
them’s future Mortal
Kombat
star Chris Casamassa), China and Matt drive off to arrest a bumbling
mountain man called Chester (J.R. Glover) who made a mess of a local
bar. The
trio seems to have everything under control.
This
impression continues even as the plot begins to move along and
several of Baskin’s men arrive
to kidnap Frank and his wife Annie (Tricia Quai) during
the July 4th
celebration.
Despite
an ominous soundtrack, our
heroes
thoroughly kick the crud out of these guys. The would-be kidnappers
flee, and China gets the cagey Frank to tell her about the
situation…though
he leaves out the bit about the stolen money.
An unproductive call from
his
FBI keeper
gets
Frank into an uproar, but China shuts him down and forbids him from
leaving town. Frank
doesn’t like this. Unlike
its predecessor, this
film has almost nothing to say on gender roles or feminism, but
there’s a glorious moment where the impotent
Frank whines
“I bet you like beatin’ up on men, don’t you?!” It’s a
not-so-subtle reminder that China is a subverter
of norms and
that men of questionable character can’t come to terms with
this.
Dakota
is dating Frank’s stepdaughter Jill (Tiffany Soter), which is a
little uncomfortable when you remember that Dakota is old enough to
be in college but
Jill
appears to go to school with students in
their
mid-teens. He
picks her up from the
campus
on
his bike and
brings her home, where Baskin and his men are lying in wait. Dakota
puts up a fight, but he’s kidnapped along with Jill and Annie.
Ironically,
Baskin’s
attempt to thus
press
Frank to surrender himself and the money almost goes wrong: Frank is
in the process of skipping town when China happens upon him and finds
out what’s going on.
(Frank’s
shame at being shown up by a woman is complete when he threatens her
with a gun and she takes him down from
the other side of a door.)
She
calls in Matt and her deputy Russell (Michael Anthony), and they
hatch a plan to retrieve the hostages with Frank’s (forced?)
cooperation.
The next day, it’s put into effect: Frank meets with Baskin at a
rock-crushing plant while
China & Co. Sneak up
, and following a massive fight scene that parallels the first film’s
sawmill brawl, all the good guys escape. Baskin, who gets quickly
taken out by China early in the fight, vows revenge.
This
fight scene, in
which Dakota doesn’t actively participate,
is a demonstration of how he’s
become estranged from
the other lead protagonists. While
neither
his screen time nor his contribution to the action content has been
reduced,
he shares very
few
scenes with China or Matt and has no one-on-one
time
with
them at all.
What’s more, he’s become almost facetious to the story.
While
the original movie featured his quest for revenge as a major plot
point
and gave him moments wherein
he
at least helped
China out of a jam, here he’s little more than a flashy side
character.
The importance of his kidnapping is diminished by China already
being prepared
to put herself on the line for Jill and Annie, and probably the most
significant thing he does throughout
the picture is
rescue Jill from molestation
by one of Baskin’s men (Douglas Caputo). I’ve heard that Keith
Cooke was very discerning
about
only accepting
roles that highlighted
his onscreen presence; if this is true, then
Dakota
being
indepdent of China and Matt probably appealed to Cooke,
but the result is that the film could’ve largely been made without
his character. The things he does and the things that happen to him
don’t affect the plot much, and that’s disappointing.
Baskin
effectively isolates
the town by cutting phone lines, scrambling radio airwaves, and
setting up roadblocks.
The next day, his crew rolls in to flush out China and her allies,
and the rest of the movie consists mainly of China, Matt, and Dakota
taking out opponents throughout
town.
It’s a cool collection of fight scenes, including ones with a trio
of specialty fighters (Billy Blanks, a whip-wielding Indiana Jones
wannabe, and Toshihiro Obata wearing a pair of Freddy Krueger claws),
but the
whole affair is one-sided with our
heroes
rarely losing the upper hand.
Things are a little more perilous for the characters who aren’t
martial artists: Russell is shot to death trying to get help, China’s
dispatcher Lucille (Cindy Clark) is killed when the police station is
shot up, ol’ Chester is killed just shortly after being sprung from
jail,
and even Frank is gunned down by Baskin as his family and he try
to escape with the money. Baskin grabs the suitcase of
dough,
ignoring the women, and is subsequently killed by Annie after
she grabs Frank’s rifle.
It’s surprising,
a little disappointing, but also apt that the antagonist is taken
down by a character who even the audience is meant
to consider beneath notice. C.Z.
Baskin is a more threatening and able villain than Edwin
Sommers was, but in the end, they’re both eliminated by a former
victim of their greed.
TRIVIA:
Filming had already wrapped
when director Robert Clouse was told that the runtime had to be
increased. Some additional action scenes were shot, including the one
featuring Billy Blanks, who was cast at short notice.
The
film ends on a downer, with China and Matt leaving Frank’s funeral
and mourning the loss of Lucille and Russell. Dakota’s there, but
he doesn’t leave with his friends.
Looking
back at the whole picture, I get the impression that the filmmakers
were intending for this to be a grittier
and more perilous movie than the original – you get hints at a
darker tone throughout via the soundtrack – but they
failed
to achieve the effect by reserving
all of the more
depressing stuff
for
the final
15
minutes. Sure, the
movie collectively
lacks the original’s upbeat tone, but it’d
be
comparable to shooting The
Empire Strikes Back
without the heroes facing
any setbacks prior to Luke Skywalker losing
his hand.
It just feels uneven.
China
O’Brien II
is a typically
inferior sequel in many ways, but its production circumstances make
the situation a little weirder. The films were shot at the same time
with much of the same crew and supporting cast, so their look and
design are
identical. That’s what makes it so disorienting that China
O’Brien
should be such an engaging romp while its follow-up is a distant
exhibition. I don’t know nearly enough about the production to say
more, but it goes to show just how delicate of a process it is to
create
a cult classic. It’s difficult to capture lightning twice, even
when the bottles are standing right next to each
other.
Nevertheless,
as
technically
the more mature film of the two, the sequel manages to make at least
one
narrative point about
change and adaptation. The most obvious example
of this
is China’s relationship
with
firearms, which was laid down in the original film and even
reinforced,
here. China never uses a gun, even
opting
to use a hunting bow when in need of a long-range weapon, but she
reluctantly
approves of
her allies using them. Russell uses a machine gun during the brawl at
the plant and there’s a meaningful shot of China entrusting a gun
to Frank, and
even Matt takes control of a rifle at
one point.
(There’s
also
a
recycled shot of Dakota riding his motorcycle with an M-16 strapped
to his back.)
The good guys kill people with these weapons – a signifier
for
lack
of control and a major no-no in the past, but now an apparent
necessity. There’s much to be said about taking a realistic look at
self-defense and firearms, but in the context of the film, this
underscores the effectiveness of the villains: they’re apparently
so dangerous that they drive our heroes to desperation and put a dent
in China’s ideals. In the aftermath, Sheriff O’Brien probably
reflects
on her worldview and how she intends
to protect
her town. It’s impossible to imagine her deputizing schoolchildren
anymore.
The
relationship Matt and China share with Dakota also
comes under the header of change.
The former two are
now
a
couple, but Dakota is noticeably estranged. They
still share
friendly gestures and
show concern for each other,
but there are hints that the trio may be in the process of breaking
up. Dakota’s status as a deputy is strictly voluntary, and after
seeing him spend more time with Jill than his cohorts and not joining
them after the funeral, I’m left with the impression that their
dynamic is coming apart. Dakota doesn’t hint at his plans and I
don’t want to make unfounded predictions, but as China admits that
she’ll miss her fallen friends, perhaps the
unspoken message is that she’ll also
miss
Dakota, now that he’s beyond
her inner circle.
One aspect that I
wish had been taken greater advantage of is the rest of the town’s
involvement in defending itself. The movie starts off with the place
feeling as organic as before, but as the film progresses, we see less
and less of the citizens. By the time the big finale occurs, the
streets are empty. The film’s trailer promises us that “This
time, [China] will need to have the whole town cooking,” but the
most we see of this is an out-of-the-blue scene where a couple of
Baskin’s thugs are thwarted by two chefs armed with cleavers.
Perhaps that bit was inserted to pad out the runtime, but seriously –
where have all of the extras gone? I can see China advising the
townspeople to stay in their homes off-screen, but the impression
this makes is that, despite their successful rallying of the
community in the past, China and her friends are eventually on their
own when it comes to facing danger.
Despite
its drawbacks, I still recommend China
O’Brien II
– not to just anybody, but probably to general martial arts fans
and definitely to Cynthia Rothrock devotees. The fight scenes are
top-notch, and there are enough entertaining moments to make it worth
your while. The
movie has plenty of problems, but it avoids the most common sin of
sequels by not merely rehashing the last flick. This
one’s yet to be released digitally or on DVD, and while it may not
be worth buying a VCR for, it’s definitely worth digging an old
model out of the basement.
China
O’Brien II
(1990)
Directed
by
Robert Clouse
Written
by
Robert Clouse, Craig Clyde (The
Wild Stallion),
James Hennessy (Wind
Dancer).
Sandra Weintraub receives a “based on a story by” credit, but
it’s unclear whether this just refers
to
her work on the previous film.
Starring
Cynthia Rothrock, Richard Norton, Keith Cooke, and Frank Magner –
all of
who
appeared in the original China
O’Brien.
Cool
costars:
Chris Casamassa, Billy Blanks (The
King of the Kickboxers),
Toshihiro Obata (Rage
and Honor).
Donre Sampson plays one of the more
noticeable
henchmen, and while not particularly distinguished, he did appear in
the super cool Revenge
of the Ninja
and therefore merits a mention.
Title
refers to:
Cynthia Rothrock’s character.
Content
warning:
Violence against women, group violence, kidnapping
Copyright
Pan-Pacific
Productions, Inc. / Imperial
Entertainment Corp.
B-Movie Dragons 