A Better Tomorrow III: Love and Death in Saigon (1989)

• Year: 1989
• Released: 20 Oct 1989
• Country: Hong Kong
• Adwords: 2 nominations
• IMDb: https://www.imdb.com/title/tt0098691/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/a_better_tomorrow_iii_love_and_death_in_saigon
• Metacritics:
• Available in: 720p, 1080p,
• Language: Cantonese, English, Vietnamese
• MPA Rating: R
• Genre: Action, Crime, War
• Runtime: 105 min
• Writer: Yiu-Ming Leung, Foo Ho Tai, Hark Tsui
• Director: Hark Tsui
• Cast: Chow Yun-Fat, Tony Ka Fai Leung, Anita Mui
• Keywords:

	5.9/10
	35% – Critics
	35% – Audience

A Better Tomorrow III: Love and Death in Saigon Storyline

At the end of the Vietnam war, Cheung goes to Saigon, intent on bringing his uncle and cousin back to Hong Kong. In Saigon, Cheung meets beautiful gangleader Chow, and relies on her help for their safe return. A love triangle develops between the cousins and Chow Further complicating matters, Chow’s lover Ho, a gang leader, appears Ho deports the cousins, and kills their uncle. Cheung and his cousin return to Vietnam seeking revenge, while Chow and Ho also become entangled with a local vietnamese warlord. Chow tries to stop the battle, but the warlord kills Chow and Ho. Just before her death Chow gives the cousins the last two air tickets with which to leave Vietnam—L.H. Wong

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A Better Tomorrow III: Love and Death in Saigon Movie Reviews

A Better Tomorrow: The prequel. An underrated masterpiece.

A Better Tomorrow III:Love and death in Saigon (1989) is an underrated masterpiece. The film takes place during the final days of the Vietnam War. Mark Go (Yun-Fat Chow) and his friend (Tony Leung Ka-Fai) are in South Vietnam on a business trip and also to meet Leung’s father. The two have a rough time getting into the country until they meet a mysterious gangster’s moll (Anita Mui). Awhile later, the three form an unusual friendship. Mark Go learns a lot from Ms. Mui as she teaches him how to survive in a brutal environment.

A great film from the ever reliable Tsui Hark. What I like about his films is that he always has strong female characters. Anita Mui is simply wonderful in this movie. She also shows her vulnerable side (she’s not always hard as steel). Mark grows up quick in war torn Saigon. Tony Leung Ka-Fai is good as well (serious for a change instead of playing his usual goofy gigolo persona). The action scenes are staged very well (they don’t dominate the film). And what’s a film starring Anita Mui without those skinny jokes (yes, a movie with Anita is not complete without a couple of skinny jokes at her expense. The movie was knocked in many ways because it’s so different than the first two. I say,”So what!” The film is an essential action film from the master Tsui Hark.

Highly recommended.

Anita Mui also performs the songs in the film. Especially the haunting theme song heard in the middle and during the end credits of the film. A fitting song in so many ways.

A sequel/prequel that should have never been made

This isn’t A Better Tomorrow. It’s a love story. A cliched love story at that. The love story was just as confusing as their one-handed machine gun wielding spraying, missing all of their targets (yet somehow still landing) .. Action plot was a mess, whoever gave Hark Tsui a go on this movie instead of John Woo should be fined .

The main actress was gorgeous though , with that – 5/10

Prequel to John Woo’s first two “Tomorrow” films

Tsui Hark directed this sequel (1989) to John Woo’s classic heroic bloodshed films Better Tomorrow 1 and 2 made couple of years earlier, and this third installment is more a prequel than sequel. It concentrates on what happened before the first two films and has more drama than action in it. Chow Yun Fat is again Mark Gor who is in Vietnam and meets there his cousin Mun (Leslie Cheung) who is just released from prison when Mark arrives in Vietnam. They meet mysterious female assassin Kit (the beautiful sweetheart Anita Mui) and both of the men are attracted by Kit. The film concentrates pretty much on the war infested Saigon and the hell that’s free in there, so there isn’t any particular plot in the film, but that doesn’t mean it’s not interesting.

I think there’s couple of strong scenes of social criticism, mostly the horrific “customs scene” at the airport when Mark, Mun, Kit and Mun’s father try to travel away from the country and are abused by the corrupted custom officers. Also the scene at the hospital is very harrowing and is there to underline righteously the state of the world of that time, and unfortunately there are even today places with same kind of circumstances in our world. Fortunately Tsui’s attitude isn’t this time as underlining as in his Once Upon a Time in China (1991), and Tomorrow 3 is therefore perhaps more noteworthy film as commenting society.

The visuals are also brilliant as can be expected from this director. There are great use of blue smoke again and the gun fights are incredibly beautifully shot and are more effective than any gun fight in some Western effort. The slow motion death scene of one important character in the film’s finale is perhaps among the most beautiful “heroic death scenes” I’ve seen and it is finished very carefully and thus it has such a power. After that scene everyone should know what this name “heroic bloodshed” for this genre means and what makes it so unique. The end is very sad, too, but as we know how Mark ends up in his subsequent adventures, it gives some positivism for the sad ending of this third film. The ending is little irritating due to it’s prolonged gun battles and fire power, and I think it should have stopped little earlier in order to be more effective finale for the otherwise pretty great film.

Better Tomorrow 3 is not as great and interesting as Woo’s films, but still this is much more than average effort from Hollywood, and due to Tomorrow 3’s great look and visuals, I give this gladly 8/10 rating and think this is among the greatest films Tsui Hark has directed himself. He has produced perhaps as many films as he has actually directed and many have said he is better producer than director, but this film shows that he really knows how to direct noteworthy films, too.