PC Translations

Here’s a few spots to help you keep up with movie-makers in Asia:

I have been planning to see John Woo’s Red Cliff ever since I first saw the commercials for it.  Last week, I went with one of my best friends to see it, but when we got to the cinema, the tickets were sold out.  Tonight, I was talking with one of my other best friends.  She’s seen the movie and said I would really like it.  And wouldn’t you know it… it isn’t showing here anymore.  Just my luck, isn’t it?   A nice movie that is just the sort I’d like comes out when I am too busy to get a chance to see it… except on the night when I can get tickets.

I am a big fan of the movie Hero. It is a beautifully put together film, I think, even with all of its self-consciously artsy side. A lot of critics don’t like this aspect of the film, but it does not bother me.

The story line of the film is outstanding. I think the actors do a great job of pulling that together too.

But part of what really intrigues me is the overt political message involved — a message of peace and even more, a message that there is only one China. But, what is intriguing is not the overt message, but how that message is undermined in the film. While the overt message is that one China is desirable, at any cost, it seems to me that the subtext is “well, yes, and we know what it will cost… the blood of our people.”

I wonder that the film has not received more political posturing as a response, but somehow it seems that this message was more or less ignored.

One of my Chinese friends gave me an idea as to why it might have been ignored. “We are so desensitized to that set of messages that we don’t even notice them anymore,” she said.

Ah.

I picked up a great book upon the recommendation of a friend. I haven’t actually gotten to read all of it yet, but it looks great. It is Public Secrets, Public Spaces, and it is a scholarly look at Chinese cinema.

As I have said many times, I am no expert on Chinese movies, but this is the sort of book to start one on one’s way to becoming more “expert.” It is a sholarly study. And it seems to really understand the Chinese mindset.

What is great about the book, from what I have seen of it, is that it approaches Chinese film from the standpoint of what it expresses about Chinese culture. That makes it loads of fun to read. I hope to finish it up before too long.

If you are interested in Chinese film and/or its reception in the west, this is a must-have book.

Beijing Bicycle is a different sort of film than many of the other Chinese movies I’ve highlighted. It centers around a younger generation, post-Cutlural Revolution, and the problems they face. Many of the other films I’ve looked at have either been set during the Cultural Revolution or before. They are all very interesting, but this one is a different sort of interesting.

I like the modern setting of the movie, and how it explores the problems young people today in China’s overcrowded cities face. It centers around what seems to be a simple problem — a boy’s stolen bike. However, it is complicated by the fact that the bicycle is his livelihood. He has traveled to Beijing from the provinces, and makes his living as a courier. Life isn’t easy for a boy like this, and the film highlights this wonderfully.

There are some memorable scenes in the film. It is one definitely worth catching for anyone interested in understanding modern China, and particularly the young people there who are flocking into urban settings.

The Banquet was one of the best shows I saw in 2006. While some of my friends in China were less than thrilled with it, I thought it was a great movie. I suppose that any adaptation of Shakespeare is sure to be something I’ll be interested in, and I thought this translation of Hamlet into a Chinese sword fighting movie was well done.

The Hamlet character, I thought, was acted better than any of the others, even though he is not played by as experienced an actor as the rest. But I thought he was more convincing in his role than some of the others.

I read on Amazon a “complaint” that the love story was too openly expressive of emotion. I agree, in one sense, but on the other, I thought it highlighted that this was at least in part to blame for the king’s eventual downfall.

I thought the story was pulled off well, and the translation particularly well-done.

I will always remember that Crouching Tiger, Hidden Dragon was one of the few Chinese movies I saw on the big screen in the US. I’ve seen plenty in Asian cinemas, but this was the first I’d seen on the big screen in the US, and I don’t know if I’ve seen another since.

Part of why that is so memorable is that my friends and I, all Chinese speakers, felt a bit awkward at some parts of the film. In Chinese, there were several parts that were quite humorous, but that didn’t translate into the English. We found ourselves laughing out loud a few times, but had to try to stifle it as the rest of the audience was very quiet. The worst was when we found ourselves laughing at the bad translation during a serious/sad scene.

I am one of those who liked this film, despite the criticism it got. I felt like it was a nicely made film, and that it was particularly good for doing just what it did — crossing borders. Not every Chinese movie is very accessible for Western audiences, but this one was, and I thought that was great.

And, of course, I always like both Chow Yan Fatt and Michelle Yeoh, so that was a special treat for me.

King of Masks is, for me, one of the most heart-warming of films.

Unlike many Chinese movies, this is not terribly depressing. It is concerned with harsh realities and all, but not overwhelmed by them.

I love that King of Masks deals with inter-generational relationships, and also with gender issues. For me, it is a fun blend of thought-provoking and entertaining.

I really loved, too, the focus on the Chinese tradition of “bian lian,” the art of the masks. It was fun watching this on the screen. When I traveled to Sichuan, I got a chance to see some of the old masks, though the performances are getting rarer all the time. I have, however, seen the “bian lian” performances in Shanghai, usually at Sichuan restaurants.

The movie, though, has several nice scenes that include the performances. In the midst of the heart-warming story, this cultural relic is showcased.

Jackie Chan was the first Chinese actor to make it big in Hollywood. His Rush Hour films were typical Chan fare — action and humor. I enjoy catching a Chan film anytime, and it is especially a tradition for us to watch Jackie Chan during Chinese New Year. If I don’t see one of his movies at the cinema at that time, it’s pretty much a sure bet I’ll catch one on TV during the holidays.

The Rush Hour movies were, for me, pretty fun to watch. I enjoyed Chan’s performance, as always, and liked the play on the cultural differences. And, seems to me, just about anyone would get a laugh out of them.

I’ve not seen every Jackie Chan movie — it would take forever to do that, I think — but I’ve seen a fair share. The Rush Hour movies were typical… a fun watch, if not exactly deep stuff.

I recently watched Wong Kar Wai’s film 2046 on DVD with some friends. I thought it would be exactly the sort of film I should enjoy. But, it turned out, I was lost.

Upon discussing the movie with another friend, he told me that in order to really appreciate 2046, he felt that one had to be very familiar with all of Wong’s films. I am not (yet), though I have a lot of his movies on DVD. I suppose, when I’ve finished watching all of them, I will one day go back and watch 2046 again, and hopefully better appreciate the movie then.

I can say that it was put together with some nice visual effects. And, while I couldn’t quite get into the story, the movie was at least very pretty.