In this blog post, I will examine the plot and characters of ‘A Better Tomorrow II’, the characteristics of the film noir genre, formal elements such as lighting, close-ups, camera angles, and mise-en-scène, and the significance of the film’s gunfight scenes to consider whether this work can be viewed as a variation of film noir.

“A Better Tomorrow II” and the Characteristics of the Film Noir Genre

“A Better Tomorrow II” is the sequel to “A Better Tomorrow.” Directed by John Woo—who is currently active in Hollywood—this 1987 film played a major role in the formation of Hong Kong film noir, alongside works such as “The Killer” and “The Killer’s Way.”
The story of ‘A Better Tomorrow II’ picks up where the first film left off. The younger brother, Song Zhaoge (Leslie Cheung), a police officer, and his older brother, Song Zhaohao (Chik Lung), who is incarcerated, find themselves involved in an investigation into an international counterfeit currency ring. Yong Sha (Shi Tian), who has gone straight and is running a legitimate shipbuilding business, gets caught up in the international counterfeit currency ring’s plot. He loses his company and his daughter, is framed for a crime he didn’t commit, and is forced to flee to the United States. In the U.S., he meets Ken (Chow Yun-fat), the twin brother of Mark (Chow Yun-fat), who died in the first film, and returns to Hong Kong to take revenge on the international counterfeit ring. Song Ja-geol is killed while taking photos alone at a secret hideout, and the remaining characters—Song Ja-ho, Yong Sa, and Ken—also die together in the end.
Many people question whether Hong Kong noir can truly be called noir. In this report, I will examine the characteristics of the noir genre and compare them with those found in ‘A Better Tomorrow 2’ to determine whether ‘A Better Tomorrow 2’ can be classified as noir.
First, let’s examine what film noir is. In the 1940s, a genre known as film noir emerged from American films that were based on hardboiled novels in terms of content and influenced by German Expressionism in terms of form. When a large number of 1940s American films—which had been banned from screening during the war—were released in France, French critics identified a distinct trend within 1940s American cinema and dubbed it “film noir.” Early film noir drew heavily on the plots of detective novels. The protagonists are mostly lonely private detectives who are cynical about life. One day, a beautiful but dangerous woman appears and commissions the detective to solve a case. These cases are mostly filled with conspiracies, such as secrets surrounding the clandestine relationships of the powerful or the wealthy. The detective solves the case, but rather than reaping great rewards or falling in love, he returns to his original state of loneliness and cynicism.
Formally, as mentioned earlier, it was influenced by German Expressionism. During World War II, many European filmmakers fled to the United States to escape the Nazis. Among them, German and Austrian filmmakers brought German Expressionism with them. A prime example is Fritz Lang. As seen in films like ‘Metropolis’, Fritz Lang frequently employed scenes with stark contrasts in lighting, as well as dark, gloomy, and melancholic backdrops. As the term “noir”—which means “black” in French—suggests, the visuals in film noir are dark.
Film noir remains a popular genre even today. For a genre to endure, it must constantly evolve and adapt. While the protagonists of early film noir were mostly private detectives with strong moral values, they gradually evolved into psychologically flawed characters burdened by deep inner turmoil. I believe this is because the dark and gloomy style of film noir resonated well with the psychological complexities of modern people. Furthermore, through various fusions with other genres, a wide range of film noir styles has emerged.
Looking at the trends in films now referred to as “neo-noir,” we see that, in terms of content, while early noir films focused on the lonely individual in an anxious society, the core of the narrative in neo-noir films is “betrayal and treachery.” These films often feature gangs. As for the characters, the “femme fatale” archetype common in early noir films is almost entirely absent. Rather than featuring a femme fatale, these films place greater emphasis on male friendship and loyalty, resulting in a male-centric narrative. Consequently, unlike early noir films—where female characters created an erotic atmosphere—a violent atmosphere now predominates.

The Thematic Characteristics of Film Noir as Depicted in ‘A Better Tomorrow 2’

Let’s examine which elements of the film noir genre ‘A Better Tomorrow 2’ incorporates—and which it does not. First, let’s look at the plot. ‘A Better Tomorrow 2’ tells the story of virtuous protagonists who bring a criminal organization to justice. This criminal organization is counterfeiting currency. The virtuous protagonists had, in the past, committed the same criminal act of counterfeiting. However, they have now turned over a new leaf and are striving to live virtuously. Despite these efforts, the people around them still view them as villains, which is why they become entangled in the case.
I do not believe that the noir genre requires specific thematic elements to be considered noir. The noir genre possesses a dark aesthetic; I believe this is a stylish way for the medium of film to showcase the dark aspects of the people and society living in that era. Therefore, I do not think noir is limited to a specific plot where a detective appears to solve a case.
In ‘A Better Tomorrow 2’, as mentioned earlier, the plot revolves around counterfeit money. Although the plot revolves around money, that money isn’t real—it’s counterfeit currency produced illegally. Through this central plot point, I believe ‘A Better Tomorrow II’ sought to portray a society that has become excessively capitalized. None of the protagonists in ‘A Better Tomorrow II’ are obsessed with money or possess a strong desire for it. On the contrary, as seen in the final scene where they blow up the counterfeit money factory, these are characters who have absolutely no attachment to money. Through the clash between the good and evil factions—which represent two extremes—I believe the film clearly illustrates the attitude our current society holds toward capital and which stance is more positive.
The greatest weapon in solving the counterfeit money case is the bond of brotherhood among men. In ‘A Better Tomorrow 2’, this bond is portrayed as being of almost excessive importance. As the title suggests, the protagonists in the film are heroes. In other words, I believe the reason the film places such emphasis on the loyalty of heroes is to express regret over the fact that there are no heroes in our society today. Of course, in today’s society, there are people in positions similar to those of heroes of the past—such as presidents or CEOs—but if they are to be called heroes, they are imperfect ones. Heroes like the protagonists in the film—who sacrifice everything, even their lives, to eliminate evil and pursue good in society—are almost nonexistent in today’s world. The society we live in today is a self-centered one where everyone prioritizes their own interests above all else.
I believe the reason four heroes appear is to express regret over the current society, where trust and loyalty between people are gradually disappearing. Rather than having a single private detective solve the case, as in early film noir movies, the film features multiple protagonists who help one another to resolve the case, thereby highlighting just how important loyalty is.
In this way, ‘A Better Tomorrow 2’ can be seen as a film that critiques a highly capitalized society—a society without heroes, a society where loyalty has vanished. This represents the dark side of our society. By portraying this dark side in a dramatic and somber manner, the film prompts viewers to reflect on these issues.

The Characters of “A Better Tomorrow 2” and Male Loyalty

Now, let’s take a closer look at the characters in the film. The main characters of “A Better Tomorrow 2” are Song Zhaoge, a police officer; Song Zhaohao and Yong Sha, former gang members who have turned over a new leaf; and Ken, a once-ordinary restaurant owner. Song Zhaoge possesses pride in his role as a police officer and a strong belief in what is right. At the same time, he displays an attitude that suggests he is always worried about something and has a vulnerable side. Song Zhahe has a deep love for his younger brother and is a character with a strong determination to turn over a new leaf and become a good person. Yong Sha is also a good person who has turned over a new leaf, runs a legitimate business, and lives with his daughter. He is a character driven by a desire for retribution against evil and a thirst for revenge. Ken has lived a varied life, running a restaurant and helping those in need. He cannot tolerate injustice and immediately takes action to punish it; he is portrayed as almost identical to Mark from the previous film, ‘A Better Tomorrow 1’.
These four protagonists take on an international counterfeit currency ring for their own distinct reasons and purposes, but ultimately share the fundamental common goal of punishing evil. The characters in ‘A Better Tomorrow’ are not so much clearly dichotomized as good or evil, but rather possess a nihilistic and solitary side, having to some extent shed their obsession with and desire for possession in a highly capitalized society. Although the characters in ‘A Better Tomorrow 2’ are portrayed as somewhat dichotomous—with a strong belief in good and a thorough punishment of evil—they also possess a nihilistic aspect. In particular, the character Ken—as frequently reflected in his dialogue—displays a detached attitude toward possession and obsession. As is clearly evident in the film’s final shootout scene, he is detached even from life itself, the very thing to which humans cling most fiercely. The most defining characteristic of the characters in ‘A Better Tomorrow II’ is male loyalty. While the bond between Song Zha-hao and Song Zha-jie could be described as brotherly love, they regard a code of honor unique to men—one that transcends even that—as their greatest virtue. This is why even Ken, a character with no direct connection to the case, is willing to fight alongside them, even at the cost of his own life.
The most significant difference between ‘A Better Tomorrow II’ and early film noir in terms of character traits is the absence of a femme fatale. In most noir films, a woman appears who sets the plot in motion and puts the protagonists in danger. Although a woman does appear in ‘A Better Tomorrow II’, her role in the film is minimal. Song Zhege, who had been using the Warrior’s daughter to investigate the Warrior, reveals everything to her when the Warrior becomes entangled in a conspiracy. Song Zhejie’s wife also learns of this, creating a brief moment of tension, but this tension is quickly resolved when the hero’s daughter is shot and killed. After that, Song Zhejie’s wife appears occasionally to highlight his tragic situation. Her appearance in the latter part of the film—intended to make Song Zhejie’s death scene more dramatic—represents the climax of the female role.

The Film Noir Style Expressed Through Darkness and Close-Ups

Now, let’s examine the film’s style. First, we’ll look at lighting—the aspect that most distinguishes the film noir genre from others. The lighting in ‘A Better Tomorrow 2’ can be described as generally dark. In particular, the early scene featuring a shootout on a dark night uses the intense headlights of a car to create a clear contrast between the characters. Additionally, frequent use of side lighting ensured that characters’ expressions appeared naturally shadowed during close-ups. In particular, the final gunfight scene inside the building effectively conveyed the characters’ sense of solemnity through the light streaming in through the windows.
“A Better Tomorrow II” makes extensive use of close-ups. The reason for this is, of course, to clearly convey the characters’ psychological states by highlighting their facial expressions. That is why I believe close-ups and film noir go hand in hand. The characters in film noir almost always carry deep inner turmoil and emotional wounds. While there are various ways to convey the psychology of such characters, close-ups allow the audience to understand their inner state and evoke a sense of sympathy. The characters in ‘A Better Tomorrow 2’ wish to live virtuously, but their surroundings do not allow them to do so; instead, they are constantly threatened. These characters stand at the center of this conflict and are well aware of how their story will ultimately unfold. Consequently, their facial expressions often reveal intense emotions such as resignation toward life and anger. By capturing these expressions in close-ups, the film conveys just how much the characters are struggling.
The director also used low-angle shots when framing the characters. In particular, low-angle shots were used for the protagonists, which I believe was done on the assumption that they are heroes. I believe the director used low-angle shots to convey a sense of superiority regarding the characters. Low-angle shots were used particularly frequently when filming Ken, because the director considered him the most ideal hero. This is because Ken is a hero who is devoted, deeply loyal, and free of greed.
I believe the mise-en-scène is closely tied to the flow of the story. In the middle of the film, Ken is fleeing with the warrior when they end up in a shootout at a motel. The mise-en-scène in that scene features a narrow corridor, dim lighting, and a set with dark colors. I think this effectively conveyed the characters’ situation at that moment—their psychological unease and their fear stemming from wounds they had not yet overcome. Furthermore, by setting the shootout in a narrow corridor, I believe the film conveyed the difficulties of the future that lay ahead and the characters’ determination to persevere through them.
The location of the final shootout is a mansion painted entirely white. I believe the set was designed as a white mansion to portray the deaths occurring in this shootout even more intensely. In particular, the contrast between the red of the blood and the white of the walls creates a striking visual effect.

The Violence and Catharsis Depicted in the Final Shootout Scene

So far, we’ve explored the content and form of ‘A Better Tomorrow II’. Finally, I will examine the significance of the shootout scenes in ‘A Better Tomorrow 2’. As mentioned earlier regarding its neo-noir tendencies, ‘A Better Tomorrow 2’ features frequent shootouts. In particular, the final shootout scene features so many deaths that it’s difficult to count them all, and so much blood is shown that it fills the entire house. Thus, in ‘A Better Tomorrow 2’, the method by which the good side punishes the evil side is, ironically, the most violent one: murder. Most of the killings are carried out with guns, and the protagonists do not seem to feel any particular guilt about taking lives. In a way, this can be seen as resorting to an extremely drastic solution. I believe this reflects the director’s personal choice regarding how to portray the dark side of contemporary society. In particular, by using gunfire to judge the villainous group, the film provides viewers with a sense of catharsis—the satisfaction of seeing the villains easily identified and punished.
So far, I have analyzed ‘A Better Tomorrow II’ through various elements of the film noir genre. As stated at the beginning of this paper, I will now share my thoughts on whether ‘A Better Tomorrow 2’ can be classified as a film noir. In fact, I initially believed that Hong Kong noir was not true film noir. However, while preparing this report—watching the film and researching the genre—I’ve come to believe that it is most accurate to view it as a trend within the film noir genre. Although the genre characteristics of film noir are not fully evident, I believe the film can be considered a trend within the genre because it was made by utilizing, to some extent, the thematic and stylistic elements of various film noir works to depict the darker side of society.

Analysis of a Specific Scene: The Scene Following the Final Shootout

This scene takes place after the final shootout has ended, with the protagonists sitting on a sofa. The three protagonists sit on the sofa, looking exhausted after bringing everything to a close, with numerous corpses lying in front of them. The contrast between the many corpses and the protagonists illustrates just how intense their battle was. By placing the protagonists in the center of the frame and shooting from a distance, the film gives the viewer space to reflect on the protagonists’ ordeal.
The white walls of the set effectively contrast with the blood-red color of the bodies, highlighting just how intense and spectacular the gunfight was. The lighting uses a sunset-like glow, suggesting that everything has come to an end. As the light streams intensely through the door cracks and windows, it casts deep shadows, effectively conveying the protagonists’ sense of solemnity.