movie

It Came from the Sinosphere: Starry Starry Night

July 23, 2013 by Sara K. Leave a Comment

Right near the beginning of the film, our protagonist is sitting inside Taipei Train Station, with a train ticket in her hand. Then it begins to snow.

I think that says more about what kind of movie this is than any blurb I can think up.

The Story

Xiaomei is not as happy living in the city with her parents as she was when she lived with her grandfather in the countryside. She becomes friends with her new classmate, Xiaojie, who is often bullied by the other students.

There is a piece missing in her “Starry Starry Night” jigsaw puzzle, and she can’t find it or replace it.

Eventually, shortly after her grandfather’s death, Xiaomei’s parents announce that they are going to divorce. Afterwards, Xiaomei runs away with Xiaojie to go to the house where she lived with her (now dead) grandfather. But they get lost…

Background

This film is based on the picture book by the very successful Taiwanese illustrator/writer Jimmy Liao, which in turn was named after a certain Vincent Van Gogh painting. It was a Chinese-Taiwanese co-production (China supplied the money, Taiwan supplied the creativity), and the first public screening was at the Busan International Film Festival.

Location, Location, Location

Wow.

First of all, when I saw the first scene, which was filmed in Taipei Train Station, I thought “that is exactly how it looked when I was living in Taipei.” I remember when the scaffolding in the background was first put up. However, it’s been over a year since Taipei train station looked like that (the scaffolding was for the renovation), so I checked. Lo and behold, that scene was shot in March 2011, when I was still living quite close to the train station. Back then, I spent quite a bit of time wandering around Taipei station, pondering whatever was on my mind (for example, I remember one evening when I was walking around Taipei train station and couldn’t stop thinking about Basara). The fact that this is exactly how Taipei Train Station looked when I lived around there (minus the snow, of course) makes this specific scene very nostalgic to me. When I get around to discussing Mars (I can hardly believe that I haven’t dedicated a post to Mars yet) I will say more about the neighborhood.

And then there are the scenes in the Alishan mountains.

This looks like it's might still in the subtropical zone, so I suspect this scene isn't too deep into the Alishan mountains.

This is nothing compared to the famous cypress or bamboo forests in the Alishan region.

The film never says that Xiaomei’s grandfather lived in the Alishan mountains … but it looks like the Alishan mountains, and I know that it was filmed in the Alishan mountains.

The Alishan mountains have an important place in Taiwan’s cultural heritage. First of all, Taiwan’s most famous kind of tea, Alishan mountain tea, is grown there. A popular Taiwanese drink/desert, aiyu, originated in the Alishan mountains, and the best aiyu I’ve ever consumed was in Ruifeng, one of Alishan’s villages. Alishan is one of the most popular places to view Yushan, Taiwan’s highest – and most culturally revered – mountain. And then, there is the famous Alishan Forest Railway, which an important cultural symbol, as well as notorious for its many mishaps. Currently, only a few sections of the railway are in operation (the tracks have a tendency to collapse during earthquakes and typhoons). The silver lining is that, because the trains aren’t running, it is safe to walk on the tracks, which is sometimes the best way to get around the transportation-hostile Alishan range (roads are often washed-out, buses get cancelled, etc). In fact, during the film, Xiaomei and Xiaojie do walk on some train tracks.

There are tons of tea fields in the Alishan region.

Currently, the grandfather’s house is in the historic town of Fenqihu. The movie was not filmed there, but the county requested they move the film set to a place where tourists could visit it. At the time I visited it, I had not seen the movie, but I could see the loving and meticulous care put into all of the little details of the house.

What Does France Have To Do With It?

Xiaomei’s mother is into all things French. She wears French clothes, drinks French wine, decorates her home with French artwork, often talks in France, and after the divorce, she moves to France.

A scene in France.

Until a few decades ago, most prominent visual artists in Taiwan received their training abroad, usually in Japan, China, or … France. When I visit art galleries focusing on Taiwanese artists from before 1980, I can often tell whether the artist trained in Japan, China, or France. Since the institutions to support native talent in the fine arts in Taiwan are relatively young, patrons of the arts who are not so interested in contemporary work often devote most of their attention to foreign art.

What I find interesting is that, in Xiaomei’s imagination, Alishan/Taiwan and France/Europe are not separate worlds. They are part of the same world – her world. Nothing illustrates this more clearly than the scene where an Alishan alpine train rolls through Van Gogh’s “Starry Starry Night.”

Climate-wise, Alishan and France are also not so different. Though Taiwan is a tropical island, the Alishan region is at such as a high elevation that it’s climate is temperate, as you can tell in the movie. When I show some of the photos I’ve taken in Taiwan’s mountainous interior to both Taiwanese and European people, they often comment ‘that looks like Europe’.

The Alishan region also has a significant number of European Catholic missionaries – as reflected in the movie by the abandoned church.

The abandoned church, next to a section of the Alishan railway. There are reasons why most of the Alishan train line is not operating right now, and reasons why, back when it was operating, it was unreliable and had a number of accidents which killed a bunch of passengers.

Strike ‘Em With Magical Realism

A lot of the appeal of this movie comes from juxtaposing ordinary things in an extraordinary way. For example, Taipei Train Station is ordinary, and snow is ordinary, but snow in Taipei Train Station is extraordinary. Ditto with the Alishan alipine train and the painting ‘Starry Starry Night’.

However, sometimes it’s a little more subtle – light the shadow of Xiaomei’s half-naked body in an abandoned church (I’m surprised that I’m calling the silhouette of an adolescent girl changing her clothes inside a church “subtle”).

However, the climax of the movie is Xiaomei’s nightmare.

In her nightmare, her friend Xiaojie, and then her parents, are a jigsaw puzzle – and the pieces are falling apart.

The Human Side

However, what makes a deeper impression on me than the magical realism is the human side of the story.

Xiaomei’s Mother

One of the most memorable scenes is when Xiaomei is dining with her mother in a very posh establishment. Xiaomei asks her mother if she’s happy, and her mother says that she is very happy. It’s obvious to the audience, however, that she is not at all happy. To get away from the topic of her (un)happiness, her mother spontaneously pulls her daughter out of her seat for a dance. For a moment, mother and daughter are cheerfully dancing together and then … the cheerfulness recedes.

It’s little touches like this throughout the film which makes the characters feel lively and real.

Availability in English

This movie is available on DVD with English subtitles.

Conclusion

I don’t get this movie.

Though I appreciated many of the individual elements in this movie, for some reason, the trees would not come together in my mind to form a forest.

It’s not that the plot is hard to follow. The plot is quite easy to follow. It’s the significance of what happens which baffles me.

I know this is supposed to be a movie about the loss of childhood innocence, and I can get that the jigsaw puzzle is a metaphor for Xiaomei’s life/world. However, I still do not get how some elements tie into this, and I’m not completely sure what the movie is trying to say about the loss of childhood innocence.

Maybe if I were to see the movie again next year, I would totally get it, and wonder why it wasn’t obvious to me before. Or maybe I still wouldn’t get it.

In spite of all this, the movie is still recommended. Even though I had trouble figuring out the sum of the parts, nearly all of the parts are very charming.

Next Time: Shadow of Visions (manhua)

As long as there isn’t a typhoon, or a big earthquake, or roads closed by landslides, or huge rocks falling for no obvious reason, Taiwan’s mountains are an excellent place to get away from the heat of the Taiwanese summer. Sara K. plans to go into the mountains next week, partially for that very reason. Alas, there are plenty of things which can foil her plans. Fortunately, she is less susceptible to altitude sickness than many people, which makes things a little easier.

It Came from the Sinosphere: The Lady Hermit

June 11, 2013 by Sara K. 1 Comment

Wow. A Hong Kong martial arts movie which puts a female-female relationship at the heart of the story.

The Story

A servant called Leng Yushang observes talented young woman called Cui Ping comes to town. Cui Ping is embarking on a career of helping innocent people and kicking butt. She is searching for “Zhong Kui Niang” (who I will henceforth refer to as “the Lady Hermit”) so she can become her disciple and learn how to kick butt even harder. The catch is that nobody knows where ‘the Lady Hermit’ is. The ‘Lady Hermit’ had been badly injured by the ‘Black Demon’, and hasn’t been seen since. Little does Cui Ping know that Leng Yushang is, in fact, the ‘Lady Hermit’ living incognito.

Of course, while Cui Ping tries to uphold justice, she gets into a lot of trouble (criminals generally are not amused when their activities are discrupted), so Leng Yushang has to interfere, and eventually, break her cover.

Background

Zhong Kui is a figure from Chinese mythology who fights and surppresses demons. “Zhong Kui Niang” means “Lady Zhong Kui,” implying the Leng Yushang, like Zhong Kui, is a mysterious vanquisher of evil.

This film stars the legendary martial arts actress Cheng Peipei as the “Lady Hermit.” You know how I always like to compare martial arts to dancing? Before starring in martial arts movies, Cheng Peipei studied ballet for six years. This is also the first film which casts Shi Szu in a leading role as “Cui Ping,” and thus put her on the map. I’ve read that Shaw Brothers intentionally wanted to make Shi Szu “the next Cheng Peipei,” so the purpose of the film was probably to transfer the aura of Cheng Peipei onto Shi Szu. Not that I’m complaining.

The Fighting

Since this was made during the golden era of the Shaw Brothers, of course all of the fighting is good from a technical standpoint. However, it was a bit difficult for me to get really involved in the action because the Lady Hermit and Cui Ping mow down their opponents too quickly. Instead of making the Lady Hermit and Cui Ping seem awesome, it just makes their opponents look terribly incompetent. The heroes really should struggle a bit more when vanquishing their foes.

Of course, I do like the fight at the suspension bridge, simply because it integrates great scenery and action so beautifully.

Checkov’s Bridge: If there is a suspension bridge in an action scene, it will collapse while our protagonist is on it.

Which brings me to the topic of …

The Scenery

I love the scenery in this film!

First of all, it is beautiful scenery, but it’s not just that it’s beautiful – I love the way the characters really seem to live in the scenery.

Leng Yushang at sunset

In some movies, the scenery simply stuns the audience with its beauty. And I like that too. But in this movie, rather than stunning the audience, it naturally blends into the movie as a whole.

Even the bad guys are part of the scenery.

I think this might be partially because it is not isolated from the characters/actors. When filmmakers really want to emphasis the scenery, they place the scenery alone, without the characters.

This was the only scenic shot I found without any humans.

But this film does not do that often, and when it does, it chooses relatively soft scenery which blends smoothly with the preceeding and following shots. Often, the actors are incorporated into the overall visual image presented.

Cui Ping looks isolated and alone amid the trees and mountains.

And I like the trick where characters are often introduced by reflections in the water.

This is the first sign that the Lady Hermit is on the scene!

And it’s also nice that there is variety in the scenic shots: grassy mountains, bamboo forests, temples at night…

You know how I like to compare martial arts flicks to dance musicals…

Doesn’t this screenshot feel a bit Busby Berkeley?

Female-Female Relationship For the Win

Since almost every wuxia story has a variety of female characters, it is not hard to find stories which pass the letter of the Bechdel test. But wuxia stories which depict deep female-female relationships are rare. The only other wuxia story I know about which puts female-female relationships front and center (rather than as an aside to the Much More Important Male-Female Relationships) is The Celestial Zone.

By the way, when I say male-female relationships tend to get more weight than female-female realtionships, I’m not just talking about the romantic relationships. For some reason, more weight gets put on daughter-father and sister-brother relationships than daughter-mother and sister-sister relationships.

The development of the relationship is what sucked me into the movie, as Cui Ping and Leng Yushang slowly reveal themselves to each other. The moment when Leng Yushang finally accepts Cui Ping as her student is sweet indeed.

Of course, the relationship is so compelling because both Leng Yushang and Cui Ping are individually interesting characters. Leng Yushang is collected, experienced, calm, quiet, grounded … and slowly healing old wounds. However, while she’s very discreet, she is not the least bit cold – she’s quite warm, friendly, and open when she is not being the ‘Lady Hermit’ or trying to hide her identity.

Meanwhile Cui Ping is young, energetic, brash, bold, and naive. She has very strong feelings about almost everything, which is what drives her to try to uphold justice, constantly improve her martial arts, and try so hard to find the “Lady Hermit.”

You might notice that these two are a bit like opposites, and I find their relationship compelling in the same way that good ‘opposites attract’ romances are compelling.

I really have to applaud both Cheng Peipei and Shi Szu’s performances, as I feel that their acting is what made the teacher-student relationship between the Leng Yushang and Cui Ping feel so intense.

… But There’s Something Which Irritated Me

And that is Changchun.

Well, not Changchun himself. As a character, he is so empty that there’s not much about him personally which can irritate me. It’s his position in the story which irritates me.

First of all, I don’t understand why the female characters are so attracted to him. There is nothing in the script which explains this, so the only explanation I can think of is that he is physically handsome, in which case they should have cast a better-looking actor.

Now, I do actually like the scenes between Changchun and Leng Yushang, since they seem genuinely tender without being over-the-top. Okay, maybe I can understand why Leng Yushang likes him.

What really irritates me is that a) Cui Ping gets a crush on Changchun and b) when Cui Ping discovers how sweet and tender Changchun and Leng Yushang are, even though she is not in a committed exclusive relationship with Changchun, she decides to break off her relationship with Leng Yushang.

WHAT!

Cui Ping went to great lengths to become Leng Yushang’s disciple, and her actions indicate that Leng Yushang is the most important person in the world to her. It’s understandable that she would be upset to see Leng Yushang and Changchun touching each other lovingly … but to break up with Leng Yushang over a mere crush seems to indicate that the teacher-student bond was not as important to her as the audience was led to believe.

Disclosure Time.

I will admit that, as an aromantic, I am particularly sensistive to this sort of thing (if you do not know much about aromantic people, here’s a primer). I have nothing against romance – I even like well-written fictional romances – but to me, full-blown romance is like sisterhood – very common, frequently interesting, but something I will probably never personally experience. That’s okay, because sibling relationships and romantic relationships are not the only kinds of relationships which can be psychologically fulfilling.

I do not like being told that romantic relationships are so special that it’s only natural that any other relationships – no matter how deep – can be dumped for romance – regardless of how shallow the romance is. If individual people want to only value romantic relationships, that’s their business (though I think they should inform their friends, families, and colleagues that they do not value non-romantic relationships). But to see such a wonderful teacher-student relationship disrupted over such an empty romance is heartbreaking.

Then again, Chang Yushang herself is hurt by Cui Ping’s actions, and it seems that Cui Ping is so upset not because her feelings for Changchun are so deep, but because her feelings for Leng Yushang are do deep.

And this brings us back to culture.

One of the reasons I enjoy Chinese-language fiction as much as I do is that, compared to mainstream English-language fiction, the value of romantic relationships is more balanced with other kinds of relationships. And ultimately, the movie does vindicate me, and show that the relationship between Leng Yushang and Cui Ping is far more important than anything going on with Changchun. In an American movie … I think that vindication would have been less likely.

Even son … sigh … I wish they had chosen a different plot device to acheive the same effect.

Availability in English

This movie is available on Region 3 DVD with English subtitles.

Conclusion

A beautiful movie about a beautiful relationship between two vivid characters. What more can I say?

This column will go on hiatus for two weeks.

The Dragon Boat Festival is happening on June 12th! Time for Sara to go watch some dragon boat races and eat some rice dumplings. She also finally has an excuse to visit the town of Longtan.

It Came from the Sinosphere: Legend of the Fox/New Tales of the Flying Fox

February 26, 2013 by Sara K. Leave a Comment

Legend of the Fox vs. New Tales of the Flying Fox

Legend of the Fox and New Tales of the Flying Fox are both Shaw Brothers’ movies adapted from the novel Other Tales of the Flying Fox. Other Tales of the Flying Fox is a prequel to the novel The Fox Volant of Snow Mountain, which I have already discussed. However, while the original novel also has some of the characters from The Book and the Sword, they don’t show up in the movies.

Quick Story Overview

Hu Fei is an unfortunate young orphan. Just after he was born, his father, Hu Yidao, was killed by his friend Miao Renfeng in a duel—but Hu Yidao only died because the malevolent Tian Guinong put poison on Miao Renfeng’s sword. Hu Fei’s mother committed suicide shortly after this.

Hu Fei is a young man who has learned martial arts from the manual left by his father. Meanwhile, Miao Renfeng’s wife Na Lan abandoned him and their daughter to go be with Tian Guinong. As Hu Fei contemplates getting revenge on Miao Renfeng, Miao Renfeng is tricked, poisoned, and blinded. Since Hu Fei feels it would be dishonorable to kill Miao Renfeng while he’s blind, he works to restore his eyesight, so that he can then kill him with honor (isn’t that so logical?) Hu Fei meets Cheng Lingsu, a young woman who is an expert on poison and antidotes, and he asks her to help him restore Miao Renfeng’s eyesight. He also gets involved Cheng Lingsu’s conflicts with her master’s other students.

Both movies cover this much of the story, but beyond this, the plot of the two movies diverge. For example, Yuan Ziyi, who is a key character in both the original novel and in New Tales of the Flying Fox, does not appear at all in Legend of the Fox.

Background on the Movies

Why did Shaw Brothers adapt the same novel twice only four years apart (1980 and 1984)? I don’t know.

Legend of the Fox was directed by Chang Cheh, who is considered one of the great marital arts movie directors.

New Tales of the Flying Fox stars Felix Wong as Hu Fei and Kara Hui as Yuan Ziyi. Felix Wong is famous for playing Jin Yong heroes, such as Xu Zhu, Guo Jing, Yuan Chengzhi, and Qiao Feng. Well, in this film, he plays Hu Fei. Kara Hui, meanwhile, is a noted and highly-respected kung-fu movie star.

Mesmerizing Disco Fashion

One of the things that really struck me about Legend of the Fox was the fashion. Many of the characters were dressed as if they were ready to go to a disco party.

This is 18th century China?

I was particularly mesmerized when there were whole slews of people dressed in oh-so-late-70s clothing.

Seeing all of those chests becomes hypnotic after a while.

New Tales of the Flying Fox also looks like an 80s film, but at least if feels like it’s set in imperial China, not a disco club.

My review of Legend of the Fox

First of all, this movie has *way too much dialogue*. I think at least 1/3 of the dialogue should have been cut out. I could have maybe forgiven the wordiness if it were being really faithful to the novel, but it makes a number of departures from the original novel (completely changing the ending, for example).

The acting … okay, the acting is not bad. At least, not bad enough to make me cringe. However, I don’t feel that the actors brought much to the table. Sure, the performances have a minimal competence, but I also feel that they didn’t bring any insight to the stories or the characters. Chin Siu-ho, in my opinion, was a shallow Hu Fei, which is a pity, because I think Hu Fei has a lot going on psychologically.

Now, it’s clear from the fight scenes that this came from the golden era of martial arts films. Everybody involved is clearly professional and skilled (I would expect no less of Chang Cheh). Some of the fights are a little long … but some of the fights are bloody impressive, such as the one where blind!Miao Renfeng fights a bunch of guys armed with chains.

Alas, while the fights do a fine job of supporting the movie, they can’t carry it—and as you may gather from the above comments, the script and the acting don’t carry the movie either.

Summary: though some of the fights are nice, I don’t like this movie.

The Value of Young Women

I could dedicate an entire post to the way Jin Yong’s female characters are treated, but here’s a short version: in Jin Yong stories, young women are valued for beauty/attractiveness and intelligence/knowledge. A young woman ideally is beautiful and smart, but if she’s not beautiful, she better be smart, and if she’s not smart, she better be beautiful. Young men, on the other hand, don’t have to be smart, or pretty, or anything else to be valued.

Cheng Ling-su, in the novel, is not pretty, so she has to justify her existence by being very smart and knowledgeable. This is who they cast to play her in Legend of the Fox

That’s right, they cast a pretty actress to play one of the few Jin Yong female protagonists who is not pretty.

Who do they cast in New Tales of the Flying Fox?

I think this is okay. By the standards of Hong Kong cinema, she is plain-looking.

My Review of New Tales of the Flying Fox

Even though this movie (90 minutes) is much shorter than Legend of the Fox (123 minutes), a lot more happens. This is partially because there is a lot less pointless dialogue.

Doesn’t that look exciting?

In fact, this movie moves so quickly that once I got into the story I didn’t realize how quickly time was going by. “Whoa, I’m already an hour into the movie!”

The fight scenes are shorter in this movie, but I think that makes them better. They pack more of a punch this way. But it’s not just that. They also have a delightful playfulness about them.

Playing with pots is fun.

The highlight of the movie for me, however, is the way that Felix Wong and Kara Hui come together so well in this film. Every scene featuring Hu Fei (Felix Wong) and Yuan Ziyi (Kara Hui) was a joy to watch. As actors, they reacted to each other like lightning, building on each other’s performance. It’s to bad there is no TV series starring the two of them together—I would watch it.

Felix Wong as Hu Fei and Kara Hui as Yuan Ziyi

I wish this movie were a bit longer. I would not have minded seeing more fighting or more screen time between Hu Fei and Yuan Ziyi, but I think there were a couple things missing from the movie:

1) Some parts of the plot should have been better explained. I was able to follow everything because I had read the novel … but without knowing what happened in the novel, some things would not have made sense.

2) I would have liked more development of the relationship between Hu Fei and Cheng Lingsu. Ideally, Cheng Lingsu/Hu Fei/Yuan Ziyi should be a tense love triangle, but Hu Fei/Yuan Ziyi pretty much steals the show in this movie. The problem is that Hu Fei and Chung Lingsu simply don’t have enough screen time together, and as a consequence, one of the most moving parts of the story falls a bit flat in this movie.

Hu Fei and Cheng Lingsu: these two do not look like they have romantic feelings for each other.

Summary: If the biggest complaint I can make about a movie is “it was too short,” then I probably really liked the movie.

Availability in English

Both Legend of the Fox and New Tales of the Flying Fox are available on region 3 DVD with English subtitles.

Conclusion

The original novel is a bit all over the place, so it makes sense that a movie adaptation would pick and choose bits, and try to mold them into a coherent movie. These two movies did not pick and choose the same things, so even though they are based on the same novel, they feel very different from each other. Legend of the Fox is more about scheming and demonstrating physical might, and New Tales of the Flying Fox focuses more on personal relationships, with violence added for fun.

Yuan Ziyi has her knife at Hu Fei’s throat – how romantic.

If you want to see a movie adaptation of Other Tales of the Fox, pick New Tales of the Flying Fox, not Legend of the Fox.

There will be a special post on Thursday, February 28.

Sara K. needs to watch more martial arts movies. She also needs to spend more time learning Chinese. She also needs to spend more time hiking. She also needs to cook more often. She also needs to learn some new skills. She also needs at least two hundred years of good health and economic security to do everything she wants to do. Sigh. That’s not going to happen.