Showing posts with label Yimou Zhang. Show all posts
Showing posts with label Yimou Zhang. Show all posts

Thursday, February 16, 2017

THE GREAT WALL

Matt Damon     Willem Dafoe     Tian Jing     Pedro Pascal     Andy Lau     Hanyu Zhang


     Visually striking with some impressive special effects, The Great Wall could be a lesson in our current times as to how effective walls are for countries.  The Tao Tei are vicious monsters known for invading China every sixty years, and that time has come again.  They are fearsome dinosaur-like (allosaurus) beasts with huge heads and pointed teeth.  They come in droves—thousands at a time—and can climb walls and leap into the air.  They’re even smart enough to figure out how to get inside the wall and attack from there.  The Chinese have their own special weapons, including balls of black powder that explode on impact or near fire.  They can send out female warriors anchored by ropes on narrow protruding fingers high up on the wall to fight in the air.  They can send out comets of fire to light on the invading troops. 
     Unfortunately, the story and the dialog among characters tend toward the unimaginative and ordinary.  Basically, two scruffy men hoping to beg, borrow, or steal the rare black powder, are captured by Chinese militia and taken prisoner.  William (Damon) is experienced in warfare all over the world and looks at the situation they’re in with the intent of finding an intelligent escape.  His friend Tovar (Pascal) is not as smart or sensible, and when they encounter another prisoner who has been there 25 years after he was caught trying to steal black powder, they devise a plan of escape.  The Chinese will not allow any of them to leave the compound so as to prevent any knowledge of their secret weapons getting out.  William and Tovar were supposed to be killed, but after they proved their mettle in a surprise attack by the Tao Tei, they were spared.
     Then, there is a complication.  Commander Lin (Jing) and William have developed an awkward relationship that is part competitive, part respectful and part mistrust.  In their brief encounters, she does get through to him on the importance of trust (xin ren), which influences his usually mercenary intentions.  In demonstrating to the Chinese his military skill and getting their respect, he becomes more invested in protecting them and, potentially, the whole world, because military strategist Wang (Lau) has said that China would be only the first country to fall prey to the Tao Tei.
     Tovar is incredulous and scornful of William, and thus begins a real schism between them that has been simmering for a long time.  The rest of the story plays out much as one would expect, with harrowing scenes, intrigue among the three rogues, and Chinese cunning.
     Damon is up to his award-winning reputation, but I was disappointed in Dafoe’s character not being more sinister, which he does so well.  That has more to do with direction, most likely, than to him personally.  Pascal is convincing as a rascal, and pulls off some of the few acerbic comedy scenes. 
     At a time when the Chinese and the U.S. are launching a major collaboration in filmmaking, this film may be a harbinger of success, but maybe not.  Director Yimou Zhang (House of Flying Daggers, filming of the opening and closing of the Beijing 2008 Olympic Games), a respected filmmaker, must have had to incorporate the input of many writers and producers, which sometimes has a blunting effect on creativity.  At any rate, The Great Wall will probably not be an A-list movie, but for those who like action more than dialog and story, it may satisfy.

Special effects over story for this film.

Grade:  C                        By Donna R. Copeland

Sunday, October 11, 2015

COMING HOME

Li Gong     Daoming Chen     Huiwen Zhang


       Coming Home is a moving and sublimely beautiful story about a couple being separated for many years, traumatic events occurring in the interim, and then the couple having to face the difficult challenge of reuniting.  The story begins with their daughter Dan Dan (Zhang) being called to her dance academy administrator’s office with her mother Wanyu (Li Gong) to inform them that Dan Dan’s father Lu (Chen) has escaped from prison, and the two are supposed to inform the authorities if he comes home.  Lu was sent to a labor camp for political reasons during the Cultural Revolution when Dan Dan was only three years old, and since he could not send them letters during his incarceration, his daughter feels no attachment toward him, and wants her mother to tell the officers if he appears.
           Told in a contemplative style where nuances in emotions are carefully expressed by the actors (especially by Li Gong), it feels like a detective story in which bits and pieces of knowledge finally lead up to a satisfying explanation.  Those bits and pieces involve wrenching disappointments (for Dan Dan in her dancing, for Lu in his wife’s reactions to him, and for Wanyu in coping with the aftermath of two traumatic events) that shape their experiences and their relationships for years to come.  Writers Geling Yan (novel) and Jingzhi Zou (screenplay) appear to be well enough informed about psychological profiles and amnesic disorders to portray the characters convincingly, and Director Yimou Zhang (Hero, House of Flying Daggers) rolls the story out with measured grace while keeping the viewer engaged.
          I was intrigued by the near absence of touch among family members.  Even when Dan Dan is sobbing, her father listens compassionately, but never puts his arm around her.  The most eloquent (and only) touch is when Lu is playing the piano and Wanyu puts her hand ever so tenderly on his shoulder (and Lang Lang's piano playing is supreme).  But otherwise, even the mother and daughter never embrace.  Perhaps this characteristic is culturally Chinese and I am uninformed, but it seems very odd to me, and I haven’t noticed it in other Chinese films.
           Overall, I loved this film for its messages—particularly that of not jumping conclusions when someone is acting strangely—of loyalty, of the beauty and enduring satisfaction of love, and human adaptability and creativity. 

You will be better grounded after you see this film.


Grade:  A                               By Donna R. Copeland