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The Criminals, Part 4: Assault

Name: The Criminals, Part 4: Assault
Director: Sun Chung, Kuei Chih-Hung
Released: 1977
Duration: 93 min

Representation Score

1.3/10

Minimal

1977

Director

Sun Chung, Kuei Chih-Hung

Runtime

93 minutes

Average Rating

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New Showbiz Analysis

The film follows the established framework of 1970s crime cinema, emphasizing genre exploitation and melodrama over social critique. The narrative structure relies heavily on patriarchal dominance and traditional clichés of victimhood. While the film delves into the darker undercurrents of urban life and the failure of the family unit, it does so through a lens of exploitation. It lacks a deliberate attempt to challenge social hierarchies or promote diverse representation. Ultimately, the production adheres to conventional gender roles and lacks diverse identity-based representation.

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Category Breakdown

Does The Criminals, Part 4: Assault have LGBTQ+ representation?

Minimal

The film does not include any characters with LGBTQ+ identities or non-cisgender identities. The story focuses solely on traditional crime and domestic tragedies.

How does The Criminals, Part 4: Assault portray gender?

Limited

Women play minor roles and are often shown as possessions. For example, in the 'Queen of Temple Street' segment, a wife is sold by her husband to settle gambling debts.

How racially and ethnically diverse is The Criminals, Part 4: Assault?

Fair

The cast is ethnically uniform, reflecting the 1977 Hong Kong production context. The narrative is culturally specific without trying to challenge ethnic norms.

How does The Criminals, Part 4: Assault represent religion and culture?

Limited

The story explores systemic corruption and family breakdown through moralistic melodrama. It relies on standard crime clichés rather than a sophisticated deconstruction of social systems.

Does The Criminals, Part 4: Assault include disability representation?

Minimal

There are no characters with visible or invisible disabilities. Disability is not used as a narrative device in this work.

Present on Screen

Provides a culturally specific narrative rooted in the 1977 Hong Kong cinematic landscape.

Limited or Absent

The film reinforces patriarchal structures by depicting women as passive commodities sold by men.
The narrative lacks representation for LGBTQ+ identities and characters with disabilities.
The storytelling relies on traditional moralistic melodrama rather than challenging systemic social hierarchies.

Official Synopsis

Part 1 : 'Maniac' - A gang is kidnapping and raping young women. Part 2: 'Queen of Temple Street' - A gambling addict sells his wife to a brothel to pay off his debts.

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