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James continues his guide to the notorious Cat III films of Hong Kong The True Face of Category IIIAs noted, ‘True’ category III films are exploitation cinema at its purest, those whose chief reason for being is to serve up graphic sex and violence, with all other concerns being secondary at best. Such films tend to be instantly recognisable from their posters or DVD covers, the rating often displayed front and centre, and the artwork generally lurid and suggestive. Also helping viewers to differentiate these films is the fact that their titles usually contain words like ‘beast’, ‘sex’, ‘naked’, ‘rape’ or ‘evil’ (or in some cases a combination of these words, grammar rarely being a consideration with their literal English translations). SexWithin this, two broad sub-types can be identified, the first of which is the sex film.
Sub-pornographic (though often going beyond what would be acceptable under an 18 rating in the UK or even NC-17 in the US), these films are primarily characterised by their frequent, and usually very lengthy scenes of sexual content, with up to half of their running times being taken up with sequences of copulation of one kind or another. What distinguishes these films from the other type of category III discussed below is the fact that whilst undoubtedly exploitative and sexist, pandering to immature male fantasies, they do on the whole lack sadism or sexual violence, with wilful misogyny taking a back seat.
Indeed, a fair number of such films treat their sexual content with frivolity or even comedy, and do generally feature a narrative or plot of sorts – of course, there are some more seriously minded category III rated sex films, though these tend to fall more under the banner of attaining the certification incidentally. Thanks to this, these films on the whole can be seen as relatively harmless, bawdy fun, with directors at times adding to the amusement factor by working in some truly bizarre and imaginative set pieces and money shots.Historical settings are common for this type of film, invoking classics of ancient erotic Chinese literature such as the notorious Ming Dynasty text Jing Ping Mei (variously translated into English as The Plum in the Golden Vase or The Golden Lotus), or simply taking other famous stories and inserting sex scenes. This kind of period sex film has proved enduringly popular to this day, and has provided category III cinema with some of its biggest hits, from Lam Ngai Kai’s Erotic Ghost Story in 1987 and Michael Mak’s Sex and Zen in 1993 (both of which featured pneumatic cult favourite Amy Yip) during the boom, through to more recent successes like the 2008 Sex and Chopsticks and its 2009 sequel, both directed by category III veteran Chin Man Kei ( Sex and Zen 2, The Eternal Evil of Asia) and produced by the one and only Wong Jing. SadismThe other kind of category III cinema combines sex with violence, more often than not resulting in extreme misogyny and degeneracy, and it’s these films which unsurprisingly have earned the most notoriety.These films tend to revolve around a handful of different themes, one of the most common seeing a maniac of some description stalking, torturing and mutilating his victims who, when female (as they inevitably mostly are) are usually subjected to rape or some form of sexual abuse. While on a basic level this might not be too different from the slasher and torture porn films of the west, the category III films from Hong Kong during the glory days of the form took thing several steps further, attaining at times jaw-dropping levels of offensiveness, perversion and depravity being the order of the day.Such films can be seen to distil the category III form to its most basic and base level, many of them being very hard to justify as actual entertainment, often being made up of little more than a thinly-linked series of leering rape and murder sequences. Though cartoonish, the villains go about their business with maniacal glee and relish, taking their time in tormenting their victims, everything about their behaviour and crimes being over the top.
Where these films really become distasteful is in the way that the rape scenes are shot in a similar fashion to the sex scenes, leaving it very obvious that titillation is the main aim – it’s hard to see such films and not come away with an impression of hatred of their female characters, or at best their extreme objectification. A prime example of this is The Peeping Tom, directed in 1997 by genre specialist Ivan Lai (also responsible for Ancient Chinese Whorehouse, The Imp and other category III nasties) following a pantomime psychopathic rapist who has a nasty habit of chopping off the legs of his victims and keeping them as trophies.To be fair, there have been a handful of such films which have gone down a somewhat more serious route, combining their sleaze and brutality with an attempt to explore the mind of their maniacs. For all its Grand Guignol gore and necrophilia, Dr Lamb is a case in point, Simon Yam’s compelling performance helping to lift the film up several notches in terms of quality, as well as making it all the more disturbing.
The 1999 Leung Siu Hung directed, Anthony Wong-starring A Lamb in Despair similarly aims for a more psychological spin on the usual formula, and though it does feature graphic rape and murder, it does at least boast an actual narrative of sorts and a few genuine stabs at suspense. Chinese Torture Chamber StorySome films take the rape angle even further, forming perhaps the most distasteful subgenre in category III, with the focus being firmly on sexual abuse – the likes of the Raped by an Angel series (which managed five entries between 1993 and 2000, including Wong Jing’s ludicrous Raped by an Angel 4: The Raper’s Union in 1999), Steve Cheng’s 1998 Rape Trap and others perform exactly as their titles suggest. Doubtless the most reprehensible of all is Billy Tang’s 1994 Red to Kill, in which a madman stalks a home for the mentally challenged, raping any female residents unfortunate enough to be wearing the colour red.
A veritable catalogue of outrages, though rather shabby and ridiculous, the film really is quite single-minded in its pursuit of offensive nastiness, proving Tang to be one of category III’s true maestros. Article continues after.The importance of category III films to the Hong Kong industry can also be seen in the way that the form provided a rich pool of actors and actresses who later ‘graduated’ to mainstream and even international roles.
Anthony Wong is again a great example of this, who went from such depraved gems as Daughter of Darkness to the likes of the Infernal Affairs trilogy and other high profile Chinese films, as well as Hollywood productions such as The Mummy: Tomb of the Dragon Emperor. Simon Yam followed a similar career path, and is now one of Hong Kong’s most respected and acclaimed veteran actors, having moved on from an early career as the ‘gentleman of category III’ (Yam was apparently known as such due to his polite treatment of actresses during potentially compromising scenes) in Dr Lamb, Terry Tong’s 1994 Gigolo and Whore and others. However it’s perhaps Shu Qi whose career has seen the most remarkable transformation, the award winning and incredibly popular star of films like Hou Hsiao Hsien’s The Assassin having long since left behind her association with sleaze epics such as Sex and Zen 2. The Category III RevivalBy the end of the 1990s the category III boom had well and truly run its course, film makers having run out of exploitation materials, audiences having had their fill and now having easier access to extreme genre films from Japan and other countries, and with the post-1997 handover to China having caused shifts in the cinematic landscape of the territory.The lull didn’t last too long, however, and category III sex films arrived back in the spotlight with Chin Man Kei’s 2008 hit Forbidden Legend: Sex and Chopsticks, another Jing Ping Mei adaptation.
Very much an old fashioned throwback, the film gave fans exactly what they’d been missing, serving up plenty of sex and sleazy goings-on, with enough odd touches to keep things interesting, and its success saw a sequel following in 2009. The next few years saw a mini resurgence of sorts, with 33D Invader in 2011, again directed by Chin Man Kei, Mark Wu’s Due West: Our Sex Journey in 2012 and, most notably, Christopher Suen’s 2011 3D Sex and Zen: Extreme Ecstasy keeping the category III spirit alive.
About Hong Kong Cat IiiThe following is a non-exhaustive list of Category III films produced in Hong Kong. According to the Hong Kong motion picture rating system introduced in 1988, 30 Jan 2012 Sex and Zen II (Hong Kong) 1996 Bluray 720p-1080p Sex and Zen Extreme Ecstasy Director's Cut (Hong Kong) 2011 Bluray 720p-1080p. Genre: Drama, Romance, Erotica Hong Kong. This grim Cat III follows the god-awful life of Kiu (Asuka Tamami), a young woman living in a conservative village.31 May 2012 Brand Hong Kong - Asia's world city Appendix IV Notification Form for Storage of Cat. Sample 3 - Fire Safety Requirements for Cat. 4 DG.31 May 2012 Brand Hong Kong - Asia's world city Appendix IV Notification Form for Storage of Cat.
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