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Reviews
Under Fire (1983)
A convincing portrait........
You can read good plot summaries from the other commentators on "Under Fire". Without rehashing the story line once again, I simply want to add that I'm really glad to have watched "Under Fire" three times because it:
* patiently and honestly portrays how revolutions typically evolve into open violence.
* has an unusually intelligent script and story line.
* has an exceptionally talented set of actors and actresses who consistently give us excellent portraits of the major characters.
We are told how a fictional set of journalists and mercenaries join on both sides of the civil war in Nicaragua in the late 1970's, when the corrupt Somoza regime was overthrown by left-wing revolutionaries. I was always convinced, and certainly never bored, in seeing what they did and in learning about their motivations.
I was especially impressed with the sights and sounds of battle. This was not your typical Hollywood "boom-boom" flick with all the sound systems turned up. A retired army veteran who survived combat in Vietnam told me that the battle scenes in "Under Fire" were most convincing. The shots and explosions were not at all deafening, and he would realize that his life was in danger only when he would suddenly hear the muted crackling of semi-automatic weapons and whistling of bullets, and then see people starting to drop...just as in the film.
At the end, we learn only gradually that victory is in sight for the revolutionaries. Little by little the government troops fade away. Then Somoza gets onto his airplane and flees into exile. There's no huge swelling of inspirational music. People gradually come out onto the streets to resume their lives, and they watch a little victory parade by the revolutionaries. This is how it really happens....a most convincing portrait.
Some may argue that this story is hopelessly dated. The leftists are gone, they tell us, and we are at "the end of history".
Really? Just wait and see what happens in Nepal, where the Maoist Liberation Front is more than holding its own against the dictatorial monarchy there. These are Marxists, not Moslem fanatics. We might not have yet seen the last of the old-fashioned leftists.
Stay tuned!!
Viva Zapata! (1952)
When heroes are hard to find........
"The Twentieth Century" (McGraw Hill), an excellent textbook for modern world history sums up Emiliano Zapata - as "an outstanding revolutionary". Charismatic and idealistic, he led peasants from South Mexico in 1910 by joining Francisco Madero and Pancho Villa in the successful revolution against the dictator, Porfirio Diaz.
When Diaz fled, he commented "Madero has unleashed a tiger; let us see if he can control it." For a limited but very accurate view of what did happened, you would do well to see "Viva Zapata", one of the best films ever to come out of Hollywood about a historical event anywhere.
You should also enjoy "Viva Zapata" for other reasons. These include the brilliant script by John Steinbeck and vivid cinematography (especially appropriate in black and white). You are not likely to forget the memorable acting by the young Marlon Brando (committed in then before he became jaded and walked through most of his later roles), as well as by Jean Peters, Anthony Quinn (Oscar Winner as Pancho Villa), and Joseph Wiseman. The casting of peasants by Director Elia Kazan were so authentic that it was easy to forget that they were all actors in staged settings.
I'll spare you my description of the story, which you can read from the synopsis and other comments at IMDb. Yet, I should add yet another reason to rent a tape or VCD to this masterpiece. This bonus is the gentle humor that gives comic relief at appropriate moments to this very serious story.
For example, when Zapata proposes marriage, he knows that he needs to impress his sweetheart and her chaperons with elegant manners and language. She is very, very interested in him but he needs to prove that he has the social graces. He comes through with flying colors with his clever, eloquent replies to her tough questions on the honor of his intentions. She and the other women do not reply to this, but we can see that he has scored a "perfect ten" when their paper fans start fluttering violently. It was easy for me likewise to give "Viva Zapata" a perfect score. Don't miss this one!!
Das Wunder von Bern (2003)
Release this inspiring film with English sub-titles.....
I did not know until reading the comments at the IMDb site that winning the FIFA World Cup in 1954 meant so much to a Germany that was building a new, humanitarian society.
I want to add two remarks to what has been said so well by the others.
First of all, I think that "Miracle at Berlin" should be released worldwide with English sub-titles because it has such a good story to tell. It only had Thai sub-titles (not English) here in Chiang Mai, Thailand, but I was lucky to understand enough of the German dialog. The theatre manager later told me the Thai sub-titles helped many natives here to enjoy and appreciate this, so he ran it an extra week.
Secondly, it is pleasant to see the Germans in the film express their patriotic pride in such a positive way. For example, it was fun to watch the young woman who agreed to delay her honeymoon so that her sportswriter husband could cover the World Cup in Switzerland. She had cared little about the tournament but in the final match came out in front of the German fans to lead cheers for their struggling team.
Since then it was also a pleasure to see and read how Germany hosted such a successful World Cup tournament in July, 2006, with their theme for visitors from around the world, "A Time to Make Friends." I'm reminded how Chief Justice of the US Supreme Court Earl Warren said he would first read the sports pages for news of human accomplishments before having to turn to the front pages to learn about the failures. Now that so much of the Middle East is once again in flames, we need stories like "Miracle at Berlin" to remind us that sometimes there are still happy endings.
Ba wang bie ji (1993)
Harsh Trials of Friendship and Love
During the 1920's, two orphan boys are taken into a renowned school for classical Chinese opera in old Peking and for years must endure the exacting training by their master. They not only survive this ordeal but become star performers, famous throughout all of China.
As adults, the macho Duan Xiaolou (portrayed by Zhang Fengyi) and the effeminate, delicate Cheng Dieyi (Leslie Cheung) maintain a strong friendship, but they are not lovers. They are joined by Xiaolou's vibrant, sexy mistress Juxian (Gong Li).
Alert for following spoilers telling about major plot developments!!
Dieyi has a fit, unfairly seeing Juxian as a rival. Yet, Dieyi is later comforted in a crisis by Juxian, who gives him the maternal care he had always lacked and craved; he learns to trust her. Meanwhile, the passion between Duan and Juxian survives other challenges.
These three overcome turmoil and oppression during the occupation of Peking by the Kuomintang and Japanese armies and later during the early years of Communist rule. Dieyi continues to star in female roles, especially as the tragic mistress to Xiaolou's doomed warlord in 'Farewell My Concubine.'
The 'Great Cultural Revolution', however, provides a most cruel test. A horde of Red Guards storms the opera house, seizes them, puts them on 'people's trial', and forces them to recant their 'reactionary' ways. The sadistic mob next demands that the three denounce each other. Dieyi, timid and frightened, yields to their threats and accuses Juxian of having been a traitor
conveniently forgetting that Juxian had earlier slept with a Japanese officer only in return for protecting all three of them. Xiaolou is shocked and angered at Dieyi's betrayal, but he cannot save Juxian.
As Juxian is led away for execution by the lynch mob, her lovely face reveals bewilderment, pain, and sorrow. She becomes the tragic concubine to whom we must bid farewell.
The anticlimactic remainder of the film includes how Dieyi's kindnesses to an apprentice opera singer are rewarded with treachery
strong retribution for what was done to Juxian.
At the end, much later, Xiaolou and Dieyi find themselves alone in the empty opera house and suddenly replay their famous episode in 'Farewell My Concubine.' He forgives Dieyi, and they are reconciled at last.
Yi yi (2000)
Struggles of a Modern Family in Taiwan
Taiwanese director Edward Yang had already gained attention at the Berlin Film Festival in 1991 with 'A Brighter Summer Day', a very long but always fascinating tale about troubled youngsters in Taipei.
In 'Yi Yi', however, Yang captured much more attention worldwide with this portrait of a middle-class Taiwanese family and its struggles to cope with crises and bereavement. 'Ordinary People', Robert Redford's masterpiece, had earlier succeeded in this quest. The nature, tone and pace of the two films differ a lot, but the stories could be easily be transposed in their settings (suburban Chicago and Taipei).
Yang deserved to win the Best Director award at the Cannes Film Festival by transporting us through his camera into the lives of the middle class Taiwanese family and seeing through their eyes.
Wu Nien-jen conveys the shifting moods of the father, N.J. Jian. N.J. has a successful career but a dead marriage with his hysterical, increasingly remote wife. We feel his excitement in meeting his old sweetheart, his confusion over what to do, his guilt after he betrays her once again, and the awkwardness of his efforts after that to reconcile with his family.
Some of the story is introduced through the still camera of his precocious, inquisitive ten year old son, who likes to freeze-frame people at a distance in their social situations. Then Yang's lens takes us into their lives.
His teen-aged daughter in her first romance is introduced to betrayal but overcomes this tough initiation. At the end, when they gather together in the memorial ceremony for his mother-in-law's funeral, they have all learned a lot, even his wife who had fled to seclusion at a Buddhist order.
One scene sticks in the memory. When N.J. has his rendezvous at the international airport in Tokyo with his first love, Sherry ( so well-played by Ke Suyun), she comes off the plane without her contact lenses on the long flight from the USA. Through her spectacles, we can see her eyes glowing with rekindled love. What kind of rat could betray her again? Yet, he's not a philanderer
..only confused and prone to mistakes.
At the end of the film, much is not resolved
.just as in 'real life'. Yet, we have hopes for this troubled family. They not only have learned a lot but will try to hang together. They care for and need each other.
Yin shi nan nu (1994)
Modern Family Love in Taiwan
Eat Drink Man Woman
1994 - Taiwan
In 1993, Ang Lee had delighted audiences worldwide with his witty tale of generation conflicts in 'The Wedding Banquet.'
In 'Eat Drink Man Woman' he quickly followed up with another story of how parents and children struggle to resolve value conflicts in modern Asia. Sihung Lung, the center of the film portrays Master Chu, a famous chef in Taiwan who is widowed and deeply loves his three daughters. They are young adults, however, and fiercely independent
..just like him. He does not know how to express his love, but he obligates them to come to his home for his banquet dinner every weekend.
(By the way, don't see this film on an empty stomach, or it will be painful for you to watch the preparation of delicious Chinese cuisine. Ang Lee filmed the hands of the most famous chefs in Taiwan as they created their specialties for the family feasts.)
Yet, the daughters don't like the ritual, referring to it as 'the Sunday torture.' They punctuate the ordeal with formal announcements, which are followed by yet another long silence.
The most strong-minded of these, his eldest daughter, is a school teacher. After many years of disinterest in men, she suddenly pursues a handsome, free-spirited volleyball coach and, after their marriage, bullies him into becoming a timid, devout Christian.
The youngest steals the boyfriend away from a college schoolmate. She later creates quite a stir at the family dinner when she quietly says, 'I have an announcement; I'm going to have a baby.'
The story, however, centers on the complicated, loving relationship between Master Chu and his third daughter, Jia-Chien, a successful airline executive. Like him in many ways, she always had wanted to be a master chef, but he bowed to the tradition against women in this profession.
After a traumatic love affair with a philanderer, she almost decides to take a job promotion with the airline and relocate to Europe. Yet, she stays on in Taiwan to help her father recover from the death of his fellow chef and best friend.
Then she tries to find a new wife for him, unwisely targeting an obnoxious older woman who lives nearby. However, he is the next to make a startling family announcement
he is engaged to be married instead to the woman's daughter!!
This modern tale proceeds to take many delightful twists and turns. At the end, Master Chu and Jia-Chien learn to understand each other. He recognizes that she
his daughter but just like him
..should be the next master chef of his restaurant. She comprehends the depth of his special love for her. As the camera fades away, they address each other simply as 'daughter' and 'father.' They have no more 'announcements'
only with honest and open declarations of love.
Chung Hing sam lam (1994)
Love in Modern Hong Kong
Director Wong Kar-Wai quickly established himself among art house cinema circles worldwide as a new voice in Asian film with this unconventional set of tales about modern love in Hong Kong.
Before then, he and other Hong Kong directors had stuck mostly with 'kung fu' flicks, using the formulas popularized by Bruce Lee with young audiences worldwide. 'Chungking Express' took a new direction, sweeping the 1995 Hong Kong Film Academy awards and gaining attention at other festivals in Europe and the USA.
The first of the two tales portrays a policeman and his thwarted infatuation with a mysterious femme fatale. It mostly rambles inconclusively but introduces us to exuberant, flashing Hong Kong as the setting for the second and much more satisfying love story.
Another police officer orders the same meal every day in his lunch break at a little coffee shop, 'Chungking Express.' His quiet, somber manner attracts the attention of the pretty, energetic, but lonely waitress. Then an airline hostess comes to the café and gives her an envelope for him. She peeks inside to see a farewell note and returned keys to his apartment.
The waitress proceeds on an outrageously funny quest to become part of his life. She reseals the envelope and returns only the note to him. After learning his address, she goes to his apartment when she knows he's at work and proceeds to use the keys to come in and make herself at home
.cleaning and re-arranging
.when he's not around. He's so depressed from his breakup that he takes little notice of the changes in his place.
Then, one day, he unexpectedly comes back home and opens the door. They are equally startled to face each other.
'What are you doing here?', she demands.
'What do you mean
I live here!!'
'Now you shout and scare me so much I can't move my leg,' she complains. 'Help me to the couch
.oh, oh, it hurts!!
.'
This zany exchange introduces us to a delightful love story. Faye Wong as the waitress ('Faye') has a special charm, bringing Audrey Hepburn to mind. Faye is feisty, mischievous, moody......and completely irresistible. The policeman ('Badge 223') is her perfect counterpart, steadfast and honorable but badly needing someone like her for energy and affection.
After many twists and some setbacks, they find each other. At the end, we have high hopes for their happiness, even in the crowded, lonely city of Hong Kong with all its insecurities and uncertainties.
Yi ge dou bu neng shao (1999)
Tribute to Human Spirit
At the Honolulu International Film Festival in 2001 I was able to ask several Asian film directors about which new films they recommended. Two especially admired 'Not One Less.' After seeing it, I completely agree with their recommendations and with praise by A.O. Scott and other film critics.
Zhang Yimou had earlier taken us with equal impact into the lives and struggles of Chinese villagers in 'Story of Qiu Ju.'. but 'Not One Less' takes place long after Premier Deng had 'broken the iron rice bowl' and left poor rural people in China to find their own way. The village school where 13 year old Wei is hired as a teacher cannot even afford to buy chalk. It certainly cannot hire an adult to teach the large group of children in one classroom.
At first, her efforts seem hopeless. Yet, she won't give up. At the end, she succeeds in holding the class together. Anyone who has ever tried to teach children will find deep satisfaction at the end, when her students finally start to learn. For all of us, 'Not One Less' is a tribute to the human spirit.
Qiu Ju da guan si (1992)
Life Lessons in an Asian Village
After earning film festival awards and critical acclaim worldwide for his powerful tragedies, Director Zhang Yimou explores new themes in 'The Story of Qiu Ju.'
Once again, he examines social injustice but this time avoids dark visions. The tone is ironic, but not angry or tragic, and the story often flashes with humor and wit.
Some critics describe this film as a protest by Zhang Yimou against the Chinese government. Yet, the tale could be placed in any village in East Asia or, indeed, in any time and place one finds misunderstanding, wounded pride, conflict, and resolution.
Gong Li, so beautiful in other films, reveals her acting versatility by portraying Qiu Ju (roughly pronounced as 'show chew'), as a hugely pregnant peasant. Gong Li had prepared for this role by living for months in a village of Northeast China to learn the local dialect and to get a feeling for this rural culture.
The story begins when Qiu Ju demands an apology from her village chief, who had injured her husband during a quarrel with a blow to the groin. She goes to higher and higher levels of government in her appeals for this apology, even after her husband and others urge her to settle for money. At the end, after some surprises, she and the chief have both learned some life lessons.
In the opening scene, Zhang Yimou draws us steadily into the rhythms and mood of the story when his camera gradually brings us past strolling pedestrians to introduce us to Qiu Ju and another peasant woman helping to push her disabled husband in a cart. We can see in this shot, and in other scenes, that bystanders were not aware what was going on.
Some even give puzzled looks at the camera, adding to the film's gentle humor.
Many other episodes gradually take us further into the culture and its story. For example, when Qiu Ju comes to the local government office to start her appeals, we first wait and watch while two teen-agers register their marriage. The district administrator has some fun by asking the shy youngsters if they will still love each other after their wedding night.
After hearing Qiu Ju's story, this district administrator urges her to settle for cash from the village chief. Yet, she pushes onward, patiently assisted in this by her woman companion in appeals for an apology to higher and higher levels of government. One of the film's best portraits is of this little peasant woman quietly standing by Qiu Ju's side.
She never questions nor complains; we all hope for friends like that.
The film's quiet tone and slow pace also give us time to appreciate some underlying social criticisms. Qiu Ju hires a lawyer to write and deliver a petition to the court. He tells her he will make sure that justice is served. She seems impressed. 'So!! You get money to make sure the right thing is done. Being a lawyer is good!!'
Yet, it doesn't turn out so well for her. The highest court in Xian, the provincial capital, has an impressive courtroom and set of procedures. Its jury of several judges collects testimony and ponders at length, but once again the verdict is upheld
..money but no apology.
This seems to be the end of the tale. Some big surprises turn the story in a new direction. She and the chief next learn to respect each other, but
See for yourself how it all turns out. You won't forget the vision of Qiu Ju at the end, bewildered and regretful, getting a verdict in her favor but that she did not want.
Those who have lived in any East Asian village will understand why Qiu Ju was urged to take money but not force the chief to lose face.
As one Chinese woman explained to me, '
.we and our families for generations lived too close to each other. We just had to get along. This was not always easy
..' She added that 'The Story of Qiu Ju' is the most understanding and affectionate portrait she had ever seen of the rural culture she knew as a child. Some Thai friends told me that the film also evoked childhood memories of their village life, where a Buddhist monk would arbitrate personal disputes and act to restore calm.
PS: This film was made in 1992, after the ending of the Chinese cultural revolution enabled Zhang Yimou to enroll in the new Beijing Film Academy. Since then, he's made many films with worldwide renown, including 'Raise the Red Lantern' and 'Red Sorghum' with Gong Li and, more recently, 'Not One Less' and 'Hero'. You should be able to find 'Story of Qiu Ju' at any good video shop. It's already a classic.
Ikiru (1952)
Coming Alive
'Ikuru' (Japanese for 'To Live') was one of Kurosawa's personal favorites. Prominent film critics worldwide put it, along with "Seven Samurai" and "Rashomon", on their lists of the best films ever made by anyone.
When first shown in the USA during the 1950's , all three quickly earned widespread critical acclaim and strong patronage. USA film enthusiasts by then had clearly grown weary of the tired formulas followed by Hollywood studios in the timid post-war years. They welcomed the more thoughtful and challenging films from Kurosawa and from other acclaimed film directors in Japan (Ozu and Misoguchi), Italy (Rosselini, De Sica), France (Troufault, Bresson), and England (Lean).
All of these great film directors were also able to hold and move their audiences while developing somber themes. 'Ikuru', however, is even more deeply philosophical than any other film that I recall by asking what is needed for us 'to live' well.
Takashi Shimura gives an absolutely convincing performance of a tired old man, numb and alone. After learning he has terminal cancer, he learns that dissipation offers no solution. Then he clings to a cute, vivacious girl, taking her to shops and restaurants. She wearies of his dreary, cringing manner but agrees to have one more dinner together.
In the powerful climactic scene at the restaurant, he learns why she is happy in her new job packaging toys. 'I feel all the babies in Japan are my friends!!'
This gives him an idea. He, too, can do something to help children. 'There's still time!!', he cries, and runs off while she stares in bewilderment. He keeps moving quickly towards his cheerful new life.
Shimura reminded me of Albert Camus' essay 'The Myth of Sisyphus.' Sisyphus plods off to yet another day of struggle but has won over the gods, after all, because he is aware of his quest.
'We must imagine Sisyphus happy,' urges Camus. We must also feel the same for the old man in Ikuru when we see how he is reborn and truly alive for the first time.