★ 8 / 10
A Near-Great Film Let Down by Its Final Scene
Set in Taipei around 1989-90, Old Fox follows a young boy, Liao Jie, his father Liao Tai-Lai, a decent but struggling man, and their landlord, "Old Fox", who…
Set in Taipei around 1989-90, Old Fox follows a young boy, Liao Jie, his father Liao Tai-Lai, a decent but struggling man, and their landlord, "Old Fox", who lives by a simple rule: other people's problems are not his concern. The boy sits between them, trying to work out what kind of man he will become.The film's strength is that it stays in that space. It does not rush to a conclusion. The father represents restraint and quiet morality. Old Fox represents effectiveness without obligation. Jie moves between the two, testing both without really understanding what each path costs.A few scenes bring this into sharp focus. The car scene, where Old Fox tells Jie, "you are me", is one of the standouts. The reflection in the windscreen makes it feel almost literal, like the boy is staring at a version of himself. His refusal is small, but it matters. The restaurant scene works just as well. Old Fox offers to sell the shop, the father initially accepts, then changes his mind and runs after him to give it back. Old Fox's reply, "You have not let me down," lands neatly. The deal can still go ahead, but more importantly, the father has held his line. There is also a sense that Old Fox wants the morality of Tai-Lai to exist in this world.Where the film really gets interesting is in Jie's choices. When he tells Old Fox about Ms. Lin and it leads to her being assaulted, it shows how dangerous it can be to get involved without understanding the consequences. The flashback with his father points in the same direction. Even well-intentioned actions can cause harm. It complicates any simple idea that speaking up is always right.Later, when Jie decides not to expose his rival's mother, the moment cuts both ways. It can be seen as kindness, sparing someone unnecessary pain, but it also fits Old Fox's view that it is simply none of his business. The quiet thanks that follows suggests it was the right instinct, but the film never spells it out. At the same time, Old Fox's indifference to Li's suicide shows where that detached mindset leads. For a child, working through all of this is not simple, and the film captures that well.The filmmaking stays consistent with this approach. The camera keeps its distance. Emotion builds under the surface rather than breaking out. Kuan-Ting Liu is excellent in this register. The comparison to Tony Leung Chiu-wai is not about looks, but about style, that same sense of controlled emotion sitting just beneath the surface.It all builds to what feels like the natural ending. The boy and his father sit on a bench and the camera slowly pulls back. It is quiet, complete, and in keeping with everything the film has been doing.Then it keeps going.The epilogue is where it stumbles. It answers the question the rest of the film leaves open, with Jie clearly aligning with his father rather than Old Fox. The issue is not clarity itself, but the way it is delivered. The scene is more direct, the dialogue feels clumsy, and it tells you what the film had previously shown. The tonal shift is noticeable. Where the film trusted the audience, the epilogue steps in and explains.Without the epilogue, this would be a 9 out of 10. As it stands, it is closer to an 8. Still a very strong film, but one that says a little too much at the end.
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★ 10 / 10
A richly observed, poignant story of a tumultuous childhood in Taiwan in the 80's
paul-1181
This is a short review of a beautiful, elegantly paced film called Old Fox. The film is by the Taiwanese director, Hsiao Ya-chuan, who won the best director…
This is a short review of a beautiful, elegantly paced film called Old Fox. The film is by the Taiwanese director, Hsiao Ya-chuan, who won the best director award at the 2023 Golden Horse awards and was edited with mastery and restraint by Chu-Chun Tao (who i have the pleasure to work with in her other life as a commercial editor).
Old Fox tells the story of a young boy who lives alone with his father, a musician and sensitive soul who is struggling since his wife died. His father works really hard to make ends meet and his son wants to see them living a more stable life in their own home that they own, rather than an apartment that they struggle to pay the rent on. The story builds on their relationship and the evolution of the ethics of the boy as he confronts a very challenging world. This film feels like you've stepped into their world of urban life in Taiwan in the early 1980s and is at times very quiet and impressionistic which i enjoyed. And even though the film has multiple storylines, the primary throughline is the ethical development of the son as he navigates learning what is right and wrong. "Old Fox" is the nickname of their landlord, who is the boss of the neighborhood and runs his businesses with a disturbing ruthlessness. The boy confronts "Old Fox" with a plea to sell an apartment to his father, and Old Fox, recognizing his younger self in the boy, becomes a type of mentor to him, with very mixed results.
There are a few storylines that weave in and out of the story of the boy and Old Fox, but for me their story was the most compelling. I found myself completely engaged with following the developing morals and actions of the son, which were sometimes hurtful but came from love for his father and a desire to see them rise out of poverty. The movie ends somewhat ambiguously, yet also poignant when you realize the impact of those developing years and how they shape a person's life.
I recommend the film for people who want to experience a unique portrayal of life in Taiwan in a beautifully filmed and paced story that takes you into the lives of people who aren't normally celebrated and so richly observed.
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80%
AUDIENCE
7.2/10
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