- Category: Movie Reviews
- Written by Gilbert Seah
TIFF Cinematheque presents – Century of Chinese Cinema
TIFF Cinematheque presents a whole range of Chinese films from China, Taiwan an Hong Kong in place of Summer in France and Italy this year. The films include several different themes from the Golden Era of the 30’s and 80’s up to gangster films of the 2000’s such as INFERNAL AFFAIRS that went on to become Hollywood’s remake of Martin Scorsese’s THE DEPARTED that won the Oscar for Best Picture.
The series runs from June the 5th to August the 11th.
For the complete list of films, ticket pricing and screening dates, check the TIFF website at:
Courtesy of TFF Cinematheque, screeners and hence capsule reviews are provided for a total of 21 films outlined below. This article will be updated frequently to include more reviews as this critic views the films.
These films will be capsule reviewed. Please check this page for daily updates.
SONG AT MIDNIGHT (1937) Golden Era Jun 30
SPRING IN A SMALL TOWN (1948) Golden Era Jun 25
RED DETACHMENT OF WOMEN (1961) New China June 9
THE LOVE ETERN (1963) New China July 13
IN THE MOOD FOR LOVE (2000) New Directions June 16
KEKEXILI MOUNTAIN PATROL (2004) New Directions June 11
VIVE L’AMOUR (1994) New Directions June 20
A CITY OF SADNESS (1989) New Waves July 1
ACTRESS (1992) New Waves June 22
RED SORGHUM (1987) New Waves July 14
THE BLACK CANNON INCIDENT (1985) New Waves June 21
THE HORSE THIEF (1986) New Waves June 29
THE STORY OF QIU JU (1986) New Waves July 14
YELLOW EARTH (1984) New Waves June 7
DUST IN THE WIND (1986) New Waves June 9
36th CHAMBER OF SHAOLIN (1978) Swordsmen, June 22
A BETTER TOMORROW (1986) Gangsters and June 8
A TOUCH OF ZEN (1971) Ghosts June 15
FIST OF FURY (1971) " June 14
INFERNAL AFFAIRS (2002) “ June 7
POLICE STORY (1985) “ June 13
(in the order of the list above)
SONG OF MIDNIGHT (CHINA 1937) ***
Directed by Ma-Xu Webang
This Chinese version of Gaston Leroux’s Phantom of the Opera plays like an old silent movie complete with a familiar typical Hollywood musical score A fighter of freedom, Song Danping is disfigured and loses the love of his life. He tells her that he is dead but does not realize that the announcement of his death would drive her crazy. When an opera troupe settles into the old theatre that he resides, he enlists the help of the lead singer to make communication again with her through teaching him with song. Shot in black and white and scary atmospheric detail, this is one of those rare Chinese horror tragedies. The film also includes a lot of propaganda which is quite laughable – Song teaches through his darkness that people should come out of the darkness and fight for freedom. Still, this is a universally appealing tale that translates into quite the beautiful film.
RED DETACHMENT OF WOMEN (China 1961) ****
Directed by Jin Xie
RED DETACHMENT OF WOMEN has the feel of a propaganda communist movie right from the heroic folksongs to the romantic look of the communist troops liberating villages from the evil tyrants. But propaganda movies can turn out quite entertaining as well – the British oldie WENT THE DAY WELL? and this little known Chinese gem being prime examples. This film is set in the 1930’s when warlords and rich landowners were ruling the oppressed poor. A housemaid, Wu (Xijuan Zhu) has been beaten and jailed by villain Na (Qiang Chen) after trying to escape several times. She is rescued by the leader of the first female army, Hong (Xin Gang Wan). He frees her and she joins and becomes an important leader in the RED DETACHMENT OF WOMEN. The film has lots of exciting battle scenes done without special effects. With solid performances and excellent period atmosphere, director Xie’s film, propaganda or not, turns out to be quite compelling and entertaining at the same time. The audience is also spared any ridiculous romance between Wu and Hong, making the film pure action drama.
IN THE MOOD FOR LOVE (HK 2000) ****
Directed by Wong Kar Wai
Wong Kar-Wai has been the Asian director to watch after his odd and stylized camerawork amazed critics in "Chungking Express". IN THE MOOD FOR LOVE was originally to be shot as a low budget quickie, but the film ended up with a 14-month difficult shoot. The film is a period piece. It is 1962 in Hong Kong. Mrs. Chan (Maggie Cheung) and Mr. Chow (Tony Leung) move into an apartment building. They discover that their respective spouses are having an affair. They become friends, face the facts and something deeper develops. The times change. There is more room for Wong to display his bag of tricks without getting into too much trouble with plot or structure. These tricks show up as the dance of a swaying ceiling lamp, a steaming kettle in the background of a scene with Mrs. Chan in the foreground or the slow-motioned drizzle of water on the street amidst Wong''s favourite Latin tunes. The Chinese culture and period atmosphere are vividly captured. Buying noodles by going to the store with a tiffin carrier, the courtesy offered by apartment neighbours and the mah-jong games are typical of the Chinese lifestyle at the time. And the dim lighting (many scenes lit by the ancient lamps), wardrobe (Cheung in dozens of beautifully made ''cheongsams'') and sets underscore the effect. Wong knows exactly what he wants and he captures the mood and period of the lovers, with his camera that works like an extension of his inner being. Enjoyment of "In the Mood For Love" can be summed up in Maggie Cheung''s line after she pays a compliment on her boss'' tie, "You notice these things when you pay attention". The camerawork, techniques and storytelling that director Wong experiments with more than engages - it astounds and amazes.
KEKEXILI: MOUNTAIN PATROL (China 2004) ****
Directed by Lu Chuan
A remarkable documentary styed action drama set in the harsh mountain ranges of Tibet, this film feels like a Chinese western, the type made by Sierra Leone. The drifter in the film is a journalist who joins the mountain patrol hired by the government o stop antelope poachers. But the poachers have murdered one of their won, so there is a personal vendetta involved. The patrol drive out to the perilous terrain where they meet up an corner their enemy. The film’s characters are as harsh as the terrain and what is seen on screen is totally expected in story or atmosphere. Though the audience is clearly put on the side of the patrol, director Lu also offers the poacher’s points of view. But what is missing is the Tibetan/Chinese conflict since the film takes place in Tibetan territory with Chinese characters.
VIVE L’AMOUR (Taiwan 1994) ***
Directed by Tsai Ming-liang
VIVE L’AMOUR is the film that shot director Tsai and his muse Lee Kang-sheng) to fame. The minimalist story concerns 3 urban drifters, real estate agent Mei (Yang Kui-mei) a street vendor, Ah-jung (Chen Chao-jung) who has an affair with her and gay cremation salesman, Hsiao Kang (Lee). There is sex among the three in what is basically a very slow moving bedroom farce (or condo farce for that matter since most of the action takes place in a to be bought condo space). Director Tsai has the uncanny ability to garb his audience with segments in which nothing happens – Hsiao Kang breaking open a watermelon with a pen knife, an extended crying scene at the climax, to mention a few. Whether audiences will favour this art film is difficult to predict but what is on display here is originality, lots of emotion and very little dialogue.
THE STORY OF QIU JU (China 1992) ****
Directed by Zhang Yimou
THE STORY OF QIU JU is one of Zhang Yimou’s best films and made at the height of mastery after RAISE THE RED LANTERN and JOU DOU. But unlike those two films, this one is a simple peasant’s story set in a village. Qiu Ju (Gong Li) seeks justice after the village chief kicks her husband in the family jewels. The chief is just fined when Qiu Ju goes to the city and even to the district. She just wants an apology and no money while the chief refuses to apologize and lose face. So, Qiu Ju is finally convinced to file a lawsuit in order to win her case, but this does not come without dire consequences. The story is an excellent moral tale that debates right from wrong and questions the need to satisfy ones principles despite consequences. Director Zhang realizes tis and les the strength of the story work its wonders. Still ex-cinematographer Zhang manages to instill bright colours into this film such as the huge bunches of red chili peppers hung from the roof and the bright red clothes worn by the partygoers during the celebration of the one-month born baby. The film also offers as a bonus, a realistic look and feel of rural China.
YELLOW EARTH (China 1984) ***
Directed b Chen Kaige
YELLOW EARTH is the first film by Chen Kaige (THE EMPEROR AND THE ASSASSIN) and shot by cinematographer Zhang Yimou before Zhang went to made hits like THE STORY OF QIU YOU, ZU DOU and RED SORGHUM. Chen’s later films have always been problematic narrative-wise, so YELLOW EARTH with a very loose narrative seems to suit the director best. Most of what transpires is told though images. A soldier is sent to outer regions of Central China to collect folk songs from the poor, so that these can be written for moral boosting songs for the soldiers. His travel brings him to a family in which he meets 14-year old Cuiqiao forced to marry an older man against her wishes. He also connects with the slightly dim younger brother. Cuiqiao wishes to join the female army but escapes crossing the yellow river at the end of the film. The film contains lots of folklore, but these sound really strange to foreigners.
DUST IN THE WIND (Taiwan 1986) ***
Directed by Hou Hsiao-Hsien
Critically acclaimed early Taiwanese film from Master Hou Hisao-Hsien about a story of a young couple from a village in the northern-east part of Taiwan. The boy, Ah-yuan goes to the capital of Taipeh to work after graduating from junior high school so he can earn money to send home. The girl, Ah-yun follows him the next year and they work hard to earn enough money to marry. Then Ah-yuan gets the draft to spend three years in the military while the girl marries someone else. Although Ah-yuan regrets (extended scene of him crying) what happened he does not blame Ah-yun. Director Hou givrs atmosphere and mood more emphasis than the narrative. For example the information of the news of Ah-yun marrying someone else comes in the scene in a billiard room. Ay-yuan’s military friends are playing pool and relay this information to each other while Ah-yan throws up in the back room. The result is a film difficult to the point of annoying to follow, but this is more than made up by the film’s rich texture displaying the way of life of the rural Taiwanese.
THE 36TH CHAMBER OF Shaolin (HK 1978) **
Directed by Lau Kar-leung
Kung Fu fight choreographer Lau’s fight extravaganza has lot of authentic fight sequences but is a narrative mess. Less an action film that one that touts the art of Kung Fu, Lau’s film contains more sequences on the training of the hero, San Te (Gordon Liu) than him fighting the bad guys. There are the various chambers such as the head chamber, the leg chamber, etc. etc. that Sun Te have to master before graduating as a Shaolin Master. Upon completion, he tells the head that he wishes to be in charge of the 36th chamber which trains outsiders. The head sends him away to collect tithes as punishment. But as the weird plot goes, he founds the 36th chamber with new recruits and the head never complains any more. The story and logic of the film make no sense nor is it consistent in is goal. But the training sequences are nevertheless interesting to watch. This is the result when you get a fighter who knows nothing about movies to make a movie! The banner another Shaw Production appears at the end of the film. This is the kind of action film Shaw Organization used to churn out of its studios every week. They make money but most of them are rubbish!
A BETTER TOMORROW (HK 1986) **
Directed by John Woo
John Woo’s films are all style and show. When someone is being shot or beaten up, the guy has to jump up in or turn a few rounds before falling down. Subtlety is not his strong point or a strong narrative. If one can accept those flaws, Woo’s A BETTER TOMORROW can be quite the delight. Two brothers (Shaw Organization Studios’ Ti Lung sporting the most horrible haircut by a lead and Leslie Cheung) are on opposite sides of the law. Their father dies as a result on the bad one’s bad activities and the cop cannot forgive the other one. That is about it for the storyline. Films from Hong Kong are normally available in two versions, Cantonese and Mandarin. This film version dubbed in Cantonese is observable at one point when the choir is singing in Mandarin, as they cannot dub the song into Cantonese. Lots of shouting, jumping and violence in what is a typical John Woo movie! (The last showdown scene has bodies sail;ing in the air and bodies flying when sho instead of just falling down.) Note that this reviewer has never been a John Woo fan!
A TOUCH OF ZEN (Taiwan 1971) *****
Directed by King Hu
A TOUCH OF ZEN is the best swords saga ever made. I should know as I grew up watching all the 70’s swordsplay flicks from Golden Harvest and Shaw Studios. A TOUCH OF ZEN from Master director King Hu (DRAGON INN, SPIRIT OF THE MOUNTAIN) contains all the elements that make a perfect period actioner from the costumes, music, atmosphere, props and lighting. The fight in the bamboo grove with the rays of sunlight shining through the trees is nothing short of spectacular as the night scenes by the dilapidated temple where just enough light is present to expose the characters’ faces. Though basically an action film, the first fight scene does not occur till well into the first hour. Director King Hu’s film is strong on narrative with sympathetic, identifiable characters like Ku (Chun Shih), a mamma’s boy who finally shows his true heroic colours after falling in love with a female fugitive, Yang (very popular actress of the time, Hsu Feng). The females in the audience will also fall in love with this strong female character. The climatic showdown at the end, full of suspense, action and special effects will leave audiences at the edge of their seats. Ultimately, all this ties down to a love romance in which love conquers all. The film won critical when first screened at Cannes and became the first Chinese action film ever o win a prize at Cannes.
INFERNAL AFFAIRS (HK 2002) ****
Directed by Andrew Lau and Alan Mak
Arguably the best cop movie ever from Hong Kong and one that spun off two sequels INFERNAL AFFARIRS 2 and 3 and the Hollywood remake THE DEPARTED that went on to win the Oscar for Best Picture. The film opens with the training at a police academy where on display are the recruits who are surprisingly all exceptionally good looking. Two graduates are hired for life, one as a mole for the police to work in the Triads (Tony Leung) and the other, Lau (Andy Lau) in the police force itself while really an employee of the Triad boss. Directors Lau and Mak take their work with dead seriousness, paying attention to detail from the execution of police procedures to the staging of busts and drug deliveries. The result is a film so tense and involving that the audience easily overlooks the thin storyline. The audience is brought to identify with both moles, no matter which side they are on. The two moles are unaware who the other is and are ordered to flush the other out. The film is also riddled with Buddhist messages such as continuous hell being the worse of hells. But the film is more emotion than action packed with the audience faced with a compelling film from start to finish.
POLICE STORY (HK 1982) ***
Directed by Jackie Chan
Jackie Chan took over as box-office Champion in the East after Bruce Lee passed away. Though his films are mainly comical Kung-Fu with his first success being the drunken Master series, there is still plenty of action sequences and well choreographed fight segments. POLICE STORY, directed by Chan himself is typical Chan fare – he has made a dozen or so similar films, entertaining, action packed, humorous with a light narrative and a little romance.. This time around, he is as a cop assigned to protect a key drug lord witness. She refuses protection so, he arranges for his cop friend to pose as a killer. Meanwhie, the drug lord alos assigns a killer to silence Salina Wong for good. Lots of comical high jinx with a few inspired stunts like Chan hanging on to a swerving bus or a baddie flung down the escalator. In the end, Chan gets to beat up the drug lord, his smart talking lawyer and his by-the-books sup, to the audience’s delight! A crowd –pleaser!