Hard Boiled, the last of John Woo’s films to be made in Hong Kong, is regarded as some of his most typical work. Signature scenes and devices that are peppered in this movie give a true testimony of Woo as an auteur. Ultra violent scenes, high paced action, Western filming influences and ludicrous body counts are all features that have given rise to Woo’s fame, both as a popular director in Hong Kong, and as a cult classic in the West. Beyond this first layer however, there are more influencing and subtle messages to be read. Woo’s portrayal of male characters, their relationships and their sentimentality challenges standard film portrayals of the male. While he doesn’t challenge the male status quo, he does redefine the notion of masculinity inside of that paradigm.

The focus of the film is the journey of Tequila, a typical renegade policeman that doesn’t adhere strictly to the rules. His quest is to shut down an arms smuggling operations in Hong Kong. During his journey, he meets with Tony, a policeman who is working undercover in the Triad gangs. To defeat the crime lords, both characters must come to terms with their relationship, as well as having to deal with their own emotional problems. It is by introducing a sentimentality within male characters, and by using the male figure as active participant in the melodrama that Woo challenges perceived notions of the way masculinity is portrayed.

Traditionally, masculinity in movies, specially those of the action genre, have reinforced a stereotype of a man without emotional conflict. Geoffrey Nowell-Smith talks of the model in which the West have two styles of film: the male "doing" film, and the female "suffering" film. John Woo collapses this two genres into one, in which the male characters "do" and "suffer". Males are given a wider role to play than simple action heroes. In fact, their masculinity and sense of worth is explored by their emotional states as much as it is by their typical macho heroics.

This morphing of the male is a result of a current climate of change in the male discourse. After years of trying to re-evaluate the female role, it is only to recently that men are finally starting to discover that it is also men who are gendered. Feminism saw women consciously trying to come to terms with their own bodies and their gender roles. Masculinity, in this sense is now trying to catch up to its female counterpart in an effort to understand its new role in society. Existing "hegemonic" models of masculinity are
outdated and, as Conell points out, it is neither the most representative model, nor the most comfortable.

Uncomfortable with the current models in Western film, Woo establishes his own vocabulary of masculinity. A common way of showing masculinity in Western movies is through worship of the body. The male becomes the subject of "The Gaze". Thus, the power of masculinity is literally represented as a powerful body. Muscular bodies and physical prowess are traditional symbols manliness, a way of viewing the ideal male body that can be traced back to the Greek and Roman statutes. This makes the character with the best physique the most masculine. To an extent, the Hong Kong "gong fu" tradition follows along these lines. While physical strength is not as strongly emphasized, agility and skill to manipulate the body are key point. On a deeper level, it is their ability to use their bodies and create a space of physicality. This type of technique sees the morally correct character prevail in a physical way over adversaries.

Woo’s characters lack the physical presence that is so common in Western portrayal of action heroes. Take the example of James Bond. At first, it seems as though he breaks the mold of the action hero, since there is no direct emphasis on his body. However, part of the allure of Bond is the sexual nature of his persona. This can be seen as an indirect emphasis on the physical, specially since his onscreen relationships are characterized by a lack of emotional depth. It is precisely this lack of emotionality in male characters that Woo avoids. There seems to be a deliberate attempt to get rid of elements of that are associated with the male sex, such as a large physical presence, or a sexual nature. Instead of valuing the masculinity of the physical body, Woo values the emotional intensity of his characters.

Tequila is shown as a man who has an emotional depth, who had inner sentimental struggles. From the first scene, the viewer is confronted with a juxtaposition of hard macho image with a more sensitive side. The first shot shows a close up of "tequila slammer", that is sculled by Tequila. This reinforces a typical attitude of the macho drinker. However, immediately afterwards he takes up the clarinet and starts playing in a jazz ensemble. From the first shot, the viewer might expect something a bit more macho, perhaps a guitar player in a rock band. This is substituted by a soothing and expressive piece on a mellow clarinet. Straight away, we see that Tequila is not the one sided "hard" cop that is expected from an action film. This sensitivity to music is mentioned later in the film by Woo, playing a cameo role of the ex cop bartender. Woo’s performance serves as a quasi-narrator, or a Freudian super ego. His character is a voice of wisdom, that guides Tequila through his quest towards self realization. Woo points out to Tequila "you were so refined […] even played music. Now you are so reckless". His masculinity must encompass this sensitivity, while still being strong.

Thus, Woo tries to paint a new picture of an emerging masculine hero. He states that he is influenced by "Chinese qualities of chivalry (meaning self sacrifice), friendship, loyalty and honor". As we will explore, these are the values that he instills in his characters, and these are the qualities that make up their masculinity. In this sense, Woo is reminiscing an idealized past. As Mr. Hoi says, "we old fellows treat sentimentality as important"

The narrative of the movie relies on the bond formed between Tequila and Tony. Their main objective, to crack the gun smuggling operation, can only be achieved by the resolution of their relationship. The friendship between these two men becomes the focal point of the movie. Both characters have personal conflicts, which at first strain any possible relationship between them. In their journey, they must learn to trust, to confide and to remain loyal to each other above all else. Their success is dependant on forming a friendship that goes beyond the expectations put on them by the circumstances they are in. Again, Woo the bartender makes the definitive point in saying "you have a good friend, never mind if he’s good or bad". In a movie where the lines between "good guys" and "bad guys" is often blurred, the viewer tends to form melodramatic sympathies with those who’s masculinity sides with notions of loyalty, honor and self sacrifice.

From the introduction of the Tony character, we see that there is an inexplicable bond between him and Tequila. The montage sequence where Tequila finds the murder weapon in the investigation of Little Moustache’s murder is the first link between the two men. Clearly, we see a departure from the schema of the male detective as a logical sleuth, rather, Tequila works through intuition. The scene juxtaposes flashbacks of Tony trying to find the concealed gun with shots of Tequila following in the former’s footsteps. The viewer is shown that the two characters have a special avenue of communication that is unique to themselves. This type of intuitive communication is later echoed in the hospital. As Tony chooses the paper he will use to make a paper crane, he runs his index finger along the wall. Given the almost identical scene in the library, the viewer instantly recognizes this to be a message that can only be deciphered by Tequila.

Their first real encounter is in the scene where both men are pointing guns at each other. This is one of the signature of Woo as an auteur. It is at this moment that Tony spares Tequila’s life by not shooting him. A strange amitié is formed between them from that point, and it is the first time that both characters are made conscious of their particular liaison. Their next meeting, in which it is Tequila’s turn to save Tony’s life, solidifies their friendship. Tony discloses his multiple identities. He is a "…robber, a son to my mother and a boss to the triads". This self disclosure opens up the avenues of the discussion between them. Their parting words are from Tequila "your on your own, brother". Though he leaves Tony to fend for himself because of the circumstances, he also marks that they are now joined in a common cause, in a sense they are "brothers".

Though they both talk about themselves, their friendship is not yet complete at this point. It is built not so much on trust as it is in duty to their police status, as well as their common goal. Woo establishes the link between Tony and Along (Tequila’s ex-partner) by juxtaposing Tony’s electrocution with flashbacks of Along’s death. It is Tony’s heroism that produces the catalyst for the next level of friendship between both characters. It is in next scene, where both are trapped in the morgue that their friendship develops more intimately. They talk about their ideals of life: Tony’s wish to live in out of the darkness and Tequila’s nostalgia towards his music. Yet, all of this happens with a backdrop of violence that surrounds them. Thus, Woo’s masculinity is one in which intimate bonds can be made between male characters, though they need "macho" heroic catalysts.

Self-sacrifice for the benefit of a friend becomes the climactic point in the film. At the end of the hospital scene, when Johnny threatens to kill Tony, we see a transformation in Tequila’s character. We know Tequila to be a brash, arrogant and proud cop. He demands respect even from his superiors. When he is told that he must back away from the case, he shouts at his Superior because he has defamed him in his own office. Clearly, this type of saving face is important for Tequila. Yet, he is ready to sacrifice his pride to save his friend’s life. His loyalty towards Tony extends to the point where he slaps himself, for the amusement of Johnny. Tony’s also shows valor, in his pleas for Tequila to shoot Johnny, which would mean his own demise. This follows the notion of "Yi", which in Chinese means "giving your life up for a friend". Though the circumstances may be volatile and out of their control, their loyalty to the friendship is steadfast.

Another facet of masculinity is a loyalty to family. This can be literal familial relationships, as well as those families that men forms, such as a crime family or the fraternity amongst policemen. In the hedonistic landscape that Woo offers in Hard Boiled, where there are no real female characters (with the exception of Tequila’s girlfriend), the family dynamic is shown between characters and their relevant father figures. Mr. Hoi is a very obvious example. As an old man, he also exemplifies old ideals of loyalty. He shows that family loyalty works in two directions. Not only does Mr. Hoi demand respect from his "children", but he also looks after them as a father would. In the siege of arsenal warehouse, the first reaction from the ambushed gang is the shout "protect Mr. Hoi". Mr. Hoi however puts the life of his gang before his own. He pleads with Tony to spare their lives. This welfare towards children is counteracted by the younger, selfish Johnny. This is shown in the shooting of Mad Dog, his loyal servant, after a disagreement over the lives of hostages. Mr. Hoi, on the other hand, values loyalty over his own selfish motivations.

Tequila gradually encompasses these familial values. When making deals with his "stool", he makes sure that Little Ko’s mother is placed in a good home. Tequila scolds Little Ko for not visiting his mother often enough. The clearest display of Tequila as a father is when he saves the baby from the burning hospital. Here we see him taking an active role as a father figure, not only entertaining the child with the "nursery rap", but also in his protection of this future "man". With the backdrop of a viscous gunfight, we see another value of masculinity, that of a sentimental father, who is worried about the well being of the child. This protection extends beyond the physical. Tequila tries to shield the child from the surrounding violence. This is a symbol of a new, emerging type of masculinity, one that doesn’t rely on violence, but on emotional ties. The sacrifices that Tequila takes might make it possible for the child to grow up without the violence that fills Tequila’s life.

Violence is a salient feature in this movie. The body count and level of graphic portrayal can easily compare with a horror genre. While it serves as a general visual spectacle, a ballet of gunshots and acrobatic feats, it also works in other ways to not only to move the narrative, but to provide a catalyst for the emotional melodrama. Violence is intrinsic to the way in which characters relate. Emotional scenes are interlaced with the visual spectacle. Throughout the film, as the violence escalates, so does the emotional intensity.

Violence is traditionally seen as a masculine domain. Gun play in particular is reminiscent of old Westerns films, in which all the action comes out of a barrel of a gun. While a Freudian viewpoint of the firearm as a phallic symbol might be over-analyzing, it is clear that the image of gun suggests an extension of masculinity. This is even more relevant when talking about Hong Kong, where the use of firearms is restricted to males. However, though it is a symbol of masculinity, wielding a gun alone does not make a character masculine.

Power is not necessarily attached to the gun. After the opening action scene, the commander tells Tequila quite cynically "give a man a gun, and he thinks he is invincible. Give him two, and he thinks he’s God". An overall message of the film is to be wary of such phrases. The gun itself does not make the man, but rather how he uses it. This idea has been compared to the gong-fu movies, with guns replacing fists. However, Woo’s use of the gun is more akin to those directors he holds in esteem, in particular Kurasawa, Melville and Scorsese. Tony is the methodical killer, much like the Samurai of Melville, and his gun is his weapon of precision and control, exemplified in the library assassination. Scorsese's influence can be seen in the trained instinctual use of the gun, seen in Taxi Driver. Kurasawa, on the other hand uses the swords of the Samurai warrior to show the Samurai’s skill with the weapon, even amongst many opponents. It is this skills that are portrayed in the shoot out scenes. Though there is certain acrobatic ability of the two main characters as they shoot their way through their enemies, clearly, the focus is on their ability to use the gun effectively. They are calculated in their shooting, and accurate. Each gunfight shows moments in which someone hesitates as they point a gun at an ally. Their skill is then not only in their handling of the gun, but in their ability to know when and when not to fire. Counter to this ideal is Johnny, who holds the idea that the gun is what makes the man. He explains "the man that holds the gun, holds the power". In another instance, he rallies morale in his guards by mocking the 38mm guns that the policemen are issued. Thus, with his defeat, we are lead to assume that the real power is held in the handling of the gun.

The notion of death and pain are also seen as part of Woo’s masculinity. A real "man" is one that can endure pain, and who rises above it. Little Ko asks Tequila to take him off the oxygen tank so that he can have a smoke. His reasons are that he wants to ‘be a first class stool’ till the end. This act of bravado is done to keep face and honor. In another instances, Tequila and Tony get shot in battles, and they both operate on themselves, without anesthetic. As Stringer puts it "violation of the bodies are outward manifestations of the internal traumas, while painful inner conflicts can only be resolved by the outward projection of feats of incredible heroism".

Pain is also a redemption for their violent actions. Here we see the influence Woo’s Christian beliefs and upbringing have on his movies. Christian notions of flagellation and redemption are evident in the way the heroes endure pain. Woo as a bartender alludes to Christianity when talking to Tequila. Tequila asks Woo why he is so noble, and the reply is that it is not Woo who is noble, "but the guy up there".

It is more honorable to die in pain. Honorable characters who die in the film are given slow and arduous deaths. While "bad" characters die almost instantaneously, both little Ko (the loyal friend) and Mr. Hoi (the loyal father figure), die in slow painful ways. The morally flawed characters, such as Johnny and Little Moustache die to a bullet wound in the head. This notion of dying with honor is part of a masculine character. The quick painless death is inglorious, while the prolonged scene is seen as a testament of someone’s valor. In the scene where Tony shoots Mr. Hoi, it would seem more obvious for Tony, a master marksman, to shoot his old boss in the head to give as little suffering as possible. However, out of respect (for we know Tony to be respectful towards Mr. Hoi), he shoots in the stomach. As Mr. Hoi recoils in pain, he shuns away any help. Determined to die an honorable death, he maintains focused and composed till his last breath.

When morally "right" characters die instantly, Woo changes temporality using filming technique. Both Along and Mad Dog die in relatively quick ways. Here, the pain and detail of their deaths is shown by Woo in his use of the slow camera shot. Drawing out the temporality in the shot shows the emotional impact of their deaths. Thus, the deaths of these two men who are given that prolonged pain aspect of the other heroes in the film.

John Woo has influenced Hollywood, both directly as a director (Hard Target, Face Off, Broken Arrow etc.) and indirectly, in his influence on directors such as Quentin Tarrantino (Reservoir Dogs and True Romance). His films show the dark slum conditions. . They are spaces that are marked by corruption, deceit and of course violence. Yet, even in these spaces, Woo shows us that there is still a place for loyalty and honor. In Hard Boiled and other post 1984 Hong Kong films, Woo proposes a new type of knight in shinning armor, one that instead of mastering his own body, has mastered his own emotional self. It is through this mastery that a new masculine role model arises. Tequila’s journey sees him appropriating the positive influences around him : the loyalty of friends and family, the value of self sacrifice and the notion of honor. It is these values, above others, that make up the idea of masculinity in the film.