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"Will you wait for me?"
Somewhere Winter told the story of a Beijing university student’s up and down relationship with a Taiwanese businessman. An Ran would have to decide how long she was willing to wait for Qi Xiao and if the timing would ever be right.An Ran desperately wants to attend her idol’s first concert in Beijing but doesn’t have a ticket. When hope was lost a man hands her a ticket after his date didn’t show up. Such began the coincidental run ins for An and Qi Xiao before they became more purposeful. Problems with Qi’s family, on-again-off-again lover, and his business cause Qi to ask An to wait for him, a habit that covers 6 years. In the present, An returns to Beijing with her estranged daughter when An’s father is dying. After the funeral as fate would have it, the daughter makes the acquaintance of Qi’s son and the two find a mystery to be solved.
I’m an old, cranky Butterfly and did not see this romance as a great love for the ages. An Ran was a college student so in her late teens or around 20 when she met the older Qi. This for me was the story of a first young love, when you are sure it is the most powerful love of all time and will always endure. No sacrifice is too great for it. As conflicts and separations continue to arise and the timing is never right, maturity and pain kick in for self-preservation and enlightenment.
Ma Si Chun and Wallace Huo did an admirable job of selling the love that couldn’t quite touch. The film didn't do anything to make them look 28 years older when telling the story in the present which was a bit confusing. Zhang Yao played An’s best girl who stood with her through all her heartbreaks.
I enjoyed this film even if it got to the point I was hoping the couple would not get together as An’s needs were almost never met. Somewhere Winter may not have been a love for the ages, but it was also a tale of how first love can overwhelm the senses and common sense, and cause a young woman to throw caution to the wind. First loves don't always mean last loves, although it’s always possible.
9 August 2025
Spoilery comments below:
The writer(s) chickened out and gave us an open ending. After all the times Qi let her down and went radio silent, I have a hard time seeing An giving up the life she had created to go back to him. Even the last time before the scandal erupted, his eyes were darting looking for the door when he realized he didn’t have enough money to start his hot pot restaurant without An’s help. She sacrificed 6 years of her life for a few days of happiness, not a great predicter of a happy future with this man. But then again, I’m old, cranky, and less forgiving…with a long memory. lol
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"Let's find out our fate"
Thai Cave Rescue is a drama that I rated more on feelings than subjective evaluation. This was the first production to be given permission by the boys and their families. Best to remember when watching this that while they strove for authenticity, events and people were changed for dramatic effect. If you are too young to have heard about this real-life event or had no interest in the worldwide reporting at the time, my comments may be spoilery.I remember hearing about the boys lost in the cave near the Myanmar border with Thailand back in 2018. When they had gone into the cave like they had done before, they didn’t know that a monsoon rain was incoming that flooded much of the cave while they were inside. Like others around the world, I prayed for them every day and scoured the news often to see if they had been found, hoping they were alive. When they were found I rejoiced! But my joy was tempered with the news that getting the boys out of the treacherous cave was close to impossible.
At first it seemed the Thai government had been resistant to foreigners helping but those closest to the scene brought in expert cave divers from around the world. Hydrology specialists, drillers, no stone was unturned in trying to find a way to safely bring the boys out. What the drama didn’t tell was that when the divers were searching for the boys, they found four men who had been working in the cave and struggled to rescue them because the men thrashed around nearly causing death to all of them. Bringing 12 boys and their coach who had been stranded without food for over a week through 4 km/ 2.5 mi of some of the most dangerous underwater paths seemed an insurmountable task. There were underwater openings so small that it required the divers to squeeze through, other places stalactites and stalagmites were like stone teeth. Silt in the water made visibility low. And every day the rescuers raced against the clock as the rains caused the water levels to rise.
This drama did a good job of focusing on certain aspects of the Wild Boars team and the rescue efforts. Even at 6 episodes, the rescue efforts were enormous with 10,000 people on the ground outside the cave. Resources poured in from around the world. People gave of their time, their expertise, their money, and in the case of Thai farmers--their crops. People volunteered with food stalls to feed the people working around the clock to save the boys. The parents were shown in their anguish, praying for their children to once again be held in their arms. The governor dealt not only with his own personnel, but foreigners, the parents, reporters, and higher-ups afraid of losing face if the operation was a failure.
Most importantly, the boys were shown as the children they were. Their young coach taught them meditation to ease their minds and hunger pains. As one of the divers said to him, “You saved these boys, now it’s up to all of us to rescue them.” The Thai Navy SEALs stayed with the boys as others hashed out plans to bring the boys home. The drama didn’t shy away from the hard truth that bringing the boys out might have a low percentage of success. The estimates of success were as low as 30% of the boys surviving.
Beam Papangkorn Lerkchaleampote gave a beautiful performance as the Wild Boars’ coach who was willing to do whatever he could to protect the children in his care. The young actors gave very natural, unpolished performances which actually worked for this documentary style drama. Many of the older Thai actors had the complication of performing in both English and Thai with mixed results. Ek Thaneth Warakulnukroh as the Governor gave a complex performance as the man dealing with maddening officials, heartbreaking parents, overwhelming choices, and Mother Nature’s wrath.
Partially filmed in the actual cave and even the boys’ own homes, the drama felt real. The ever pouring rain could be felt dampening everyone’s spirits. The caves that had been so beautiful as the boys initially walked through became a dark watery monster as the waters rose. And yet people risked their lives, pitched in however they could, and always fought for these boys as if they were their own. It was beautiful to see how people could pull together when there was nothing to gain except helping 13 strangers.
In many ways, the Wild Boars became the world’s children as people rallied around them both physically and in spirit. “I’ve seen Buddhists, Christians, and animists, heads bowed in prayer. I’ve even bowed my own. Whatever you believe, believe in these boys.” Amen, Governor, amen.
20 May 2025
Spoilers:
RIP
Retired Navy SEAL Saman Gunan died underwater in the cave when he lapsed into unconsciousness.
Navy SEAL Beirut Pakbara died months after the rescue from a blood infection he incurred at the cave.
Beam died in 2022 before the drama premiered, found unresponsive in his bed by his family.
Real Wild Boar captain, Duangphet Phromthep died at the age of 17 in the UK by suicide in 2023.
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"The night is full of weirdos"
Fallen Angels was the film negative of Chungking Express. Both films dealt with lonely, disaffected people but Fallen Angels didn’t even pretend the characters had a shot at true love. Instead of police officers there were murderers and a slightly mad entrepreneur. Wong Kar Wai brought back the devastating canned pineapple and expiration dates, only this time the expiration dates were for relationships and lifespans.“I’m a lazy person, I like for people to arrange things for me.”
Wong Chi Ming is a hired killer. He calls himself lazy and enjoys having someone else tell him where to be and what to do. After finishing a job, he grabs a bus just like any other salary worker. When an old classmate on the bus asks about his life, he drags out pics and a story created for just such encounters. His partner, whom he never interacts with, cleans his apartment and gives him his assignments. She fancies herself in love with him and he, her. Wong runs into an old lover he doesn’t recognize, hooking up with her for a time. He Qi Wu lost his voice as a child after eating expired canned pineapples. His father is the caretaker of the Chungking Mansions Hotel where the secretive partner lives as well. At night Qi Wu breaks into businesses and runs them for himself. Too often he forces his services on customers who end up paying him to leave them alone. Qi Wu becomes involved with a woman whose boyfriend dumped her to marry another woman. Too soon he discovers that pineapples aren’t the only things with expiration dates.
“There are some things you can’t escape.”
Wong Kar Wai utilized his iconic green, yellow, and red palette once again. The characters and backgrounds flew frenetically about, always in motion as if they were trying to outrun their fates. The characters’ sun was the moon as they lived in a world constantly at night, lit by streetlamps and neon lights echoed on damp pavements. Obsession and desire replaced anything resembling true love as they grasped at any form of connection to break their loneliness and isolation no matter how temporary. Chungking had one blonde in a wig, the Hong Kong of Fallen Angels was overpopulated with women and men named Blondie. These blondes didn’t have more fun, they were always on the precipice of loss or brawls.
“We rub elbows with a lot of people every day. Some of them might become your friends or confidants.”
The acting was superb whether in action scenes, comedic situations, or characters sorrowfully scouring bars and streets for a glance at love. There was little to no plot, this was Wong Kar Wai. Style and mood ruled over narrative. The characters weren’t highly developed more like notes in a song too sad for words, played out in garish, muted tones. There are times with WKW that I’m not sure if his work is bold or self-indulgent like a video collage of dark emotions set on fire. I enjoyed Fallen Angels more than Chungking Express though I did miss Tony Leung’s presence. This film’s mood hit with me, swaying the balance to a bold, creative effort.
“The road wasn’t that long and I knew I’d be getting off soon. But at that moment I felt such warmth.”
9 December 2024
Trigger warnings: Self-pleasuring scenes and bathroom humor. For vegans, butcher scenes.
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"It takes time to learn to like yourself"
Director Kim Bo Ra explored the joy and pain of adolescence in The House of Hummingbird. Life for an adult can be chaotic and overwhelming, at fourteen, Eun Hee was neither a child nor an adult. Her world was confined to the two places she didn’t fit in---school and her family.“How many do you understand?”
Eun Hee’s family stresses education to the point that her brother easily flies into rages and beats her, her older sister has begun skipping school, and Eun Hee has a tendency to fall asleep in class. At home her parents come across as disinterested in her or verbally abusive. Dinners are eaten in silence or with the father berating them. When she has a health concern that worsens, Eun Hee has to deal with it all by herself. Anything resembling emotional support is in short supply. She has an on-again, off-again boyfriend and a best friend she attends Chinese tutoring school with. It is her new tutor who actually sees her and lets her know she’s valuable just as she is that touches Eun Hee and frees something within her.
“We should all live separately.”
There were times watching this I was waiting for someone in Eun Hee's family to snap and commit a mass murder. Her parents would go from a no holds barred screaming match and using a lamp as a shiv to acting like nothing happened the next morning. Vicious words were thrown around at the children and physical blows. Then everyone would shove all the frustrations, anger, and fear somewhere deep inside and live in silence with each other. The two sisters’ needs were especially invisible with a brother in the house. Their mother was in a vicious cycle as she’d had to drop out of school in order for her brother to finish high school, a man who never amounted to anything. As Eun Hee learned from her tutor, even a quality university education did not guarantee happiness.
“Will my life start to shine someday?”
Dealing with physical abuse, insecurities, and fickle friends, Eun Hee learned from her tutor that as long as she had her two hands and could move them, she still had the ability to change things. Eun Hee found that friendships and connections made life more bearable or even simply jumping on a trampoline on a sunny day. Despite the chaos around her, Eun Hee’s resilient spirit began to soar. Bad things happen but so do good.
“What’s the right way to live?
Somedays I feel like I know but I don’t really know for sure.
I just know that when bad things happen, good things happen, too.
And that we always meet someone and share something with them.
The world is fascinating and beautiful.”
23 August 2024
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Powerful and inspiring short film
Beautiful Run was a powerful and deeply touching short film. I have watched it twice and cried twice-something quite unusual for me. I’m not sure how realistic it would be, but I hope with all my heart it could be.A young girl with a disabled leg who uses crutches cares for her bedridden father often missing school. Short on food and medication she applies for the most menial of jobs but is rudely turned down as people glance at her leg. She happens upon a flyer for a marathon with a cash reward and enters it. At first, she receives the same disdainful side-ways glances from the other runners, but during the arduous journey as she determinedly perseveres with one leg, her efforts begin to change the hearts of the other runners.
At less than seven minutes long the story is told with almost no dialogue. Only the careful editing and expressions on people’s faces tells the story. Near the end there is clarification through group messaging, but other than that everyone is silent. The music also nurtures the audience’s feelings. The nameless young woman never complains, never breaks down in tears, she just relentlessly keeps moving forward with her committed resolve.
This girl’s selfless persistence in a grueling physical act of love broke through people’s prejudices and began to bring out the best in others. The film stopped short of being patronizing. Beautiful Run made me believe that good does exist and people can open their minds and hearts to others. “Gratitude makes the impossible happen.” Let it be so.
10 June 2024
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"So many people have died, even hell is packed."
The Flowers of War was released shortly after the 74th anniversary of the Nanking Massacre. A drunk Westerner with no political alliance, a dozen church school girls, and a dozen prostitutes take refuge in a cathedral compound as the rest of the city lies in ruins. Surrounded by Japanese soldiers, the unlikely group of people will have to work hard to find a way to survive.This film is not for the faint of heart. Dead bodies line the streets and civilians are shot whenever found. Children are raped and adult women are gang raped, tortured, and murdered. Where this film did not work for me, and I say this as an ardent Zhang Yi Mou fan, there was too much sexual flirting and beautiful images in such a stark and unsavory story. The film was based on a novella inspired by an American missionary's diary. The missionary, Minnie Vautrin, fought to protect students and refugees at Ginling College where she was president. Instead of someone like Minnie, we were given John Miller, a drunken reprobate. He transformed into a heroic knight willing to do whatever was necessary to save the girls overnight. His character growth was shockingly unbelievable. The prostitutes had the same saintly transformations just as quickly. We never learned the names of most of the school girls or prostitutes. It ended up being simple. Virgins must be saved. Prostitutes are expendable. I thought John's makeover time came across too lighthearted when the mortician was basically working his magic on women who were going to a terrible death. The Japanese were almost uniformly categorized as evil. It's not surprising. With a national trauma of 200,000-300,000 killed and countless women raped, that's a wound that does not heal easily.
Christian Bale was serviceable as John. Though a big name, his acting style doesn't appeal to me. John wasn't a very sympathetic set of western eyes to view the atrocities through. Ni Ni in her first role showed she had acting chops, even more impressive in a role that called for her to speak English much of the time. Her Yu Mo was seductive, strong, and sorrowful. I hated that they had Yu Mo fall for the uncouth John, it was more relatable when she used him for his western face to help save her and her friends. Huang Tian Yuan as sweet George made the most of his pivotal and heroic role.
Every action in this film was designed to elicit an emotional reaction and get the viewer's tear ducts flowing. It felt too contrived most of the time. It was hard to emotionally bond with female characters, both young and older, who had no names. The time was catastrophically devastating and those who survived the murderous onslaught faced horror after horror, there's no easy way to put that on film. Had there been more believable character growth and fewer flirty moments, I could have gotten on board with this film better.
9/27/28
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"Put the family first!"
Cue the violins and bring out the box of tissues because Ode to My Father will shamelessly and successfully pull at your heartstrings. This film is not only an ode to one father, but two, as you follow a boy from childhood to old age selflessly working to provide for and keep his family together just as he had promised his father he would do.The film follows Deok Su as a child in 1950 fleeing Hungnam as the Chinese were overrunning the city. His only task was to hold his little sister's hand as the family sought shelter on a US ship, the USS Meredith, accepting refugees. In the stampede to find a way onto the ship, his sister was lost. When his father turned back to find her, he tasked Deok Su to be the man of the family and always put the family first if he could not return. Deok Su took his promise seriously when they arrived at his aunt's shop in Busan. Accompanying him on his various entrepreneur ventures was his best friend, Dal Gu.
Deok Su would later go to Germany to be a coal miner, a dark and dangerous job, in order to pay for his brother and sister's schooling. There he would meet his future wife, a Korean woman studying to be a nurse, Young Ja. He and Dal Gu returned home when the Germans stopped renewing their work visas. After his aunt's death, his uncle wanted to sell the Kkotbun Shop. Once again, Deok Su stepped forward, this time taking Dal Gu with him to Vietnam to earn money as "technicians". The two friends would face the same choice the Americans did at the North Korean port when as they were fleeing Saigon women and children begged for them to let them onto their boat. In 1983 Deok Su and Dal Gu would go to Seoul in the hopes of finding his father and sister when the Korean Broadcasting Services showed families being reunited through their programs.
Deok Su's grown children cannot understand why he won't sell his shop or change the old-fashioned name. Deok Su who so easily sacrificed his own dreams and took dangerous jobs to provide for his family, privately confessed to his father's image how difficult the struggle had been. After promising his father he would always put the family first, the last words he heard his father speak were that he would meet them at the Kkotbun Shop. Never saying his purpose aloud, Deok Su kept the shop open in case his father survived so that he could find his way to them.
This was a nostalgic look back for older Koreans who after surviving the Japanese occupation were devastated by the Korean War. Their country divided and some families divided by the new boundaries, dealing with political and economic upheavals, mothers and fathers worked hard to feed and shelter their families among the continuing changes around them. The main character in this film shined shoes, dug coal, traveled to Vietnam during that war, and later ran the family shop. He did all this to make things easier for his family and children. In a letter to his wife, he told her how grateful he was that it was he that suffered and not his children. And of course, his children, as children are wont to do, did not fully understand the hardships and struggles their parents went through for them.
Lest you think it was all melodrama, fear not for there were gentle moments of humor that lightened the mood. As much as the film was about family and sacrifice it was also about friendship. It was heartwarming to watch Deok Su and Dal Gu stand by each other from childhood to old age.
A small historical note: The USS Meredith was credited with one of the largest humanitarian rescues when the ship dumped its cargo and took on 14,000 refugees in a ship designed for 12 passengers and 47 crew.
I am not a crier, but this movie moved me to tears on several occasions. I knew the director and music director were setting me up for the big emotional moments and did everything but present a cue card that said, "Cry now!" It didn't matter, the milestones in this film though far removed from my life still reminded me of the sacrifices and relentless hard work my parents and grandparents went through to make my life easier. And like the director, who made this film as a thank you to his father, it reminded me to say thank you to those who went before me. The desperation during times of political upheaval for people who have nowhere else to run is truly heartbreaking. I cried for the families around the world who have been separated by war, death, and poverty and felt gratitude for the ones left behind who have fought tenaciously to hold the survivors together and refused (and still refuse) to give up.
The film could swell emotionally and had an ambitious overview. It helped that the acting was on point and didn't boil over into being overwrought which kept the characters grounded. With all of the time jumps it could have been easy to become lost as we were given a personal tour by Deok Su through pivotal points in Korean history. Though the story covered decades and several countries, Ode to My Father was at its heart a simple and intimate story of a man keeping a promise to his father. Unabashedly melodramatic? At times. But this film was also inspiring and uplifting and a lesson in the power of tenacity. If you are looking for a movie to touch you, look no further.
4/24/23
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All is fair in love and war...
For those who love wuxia or Zhang Yi Mou's films, Hero will weave around you, wrapping you in its hypnotic effects of color, music, scenery, and skilled performances. The film is a poetic examination of the different facets of being a hero and the sacrifices required. As a fan of both wuxia and Zhang Yi Mou I found this film breathtakingly beautiful and emotionally heartbreaking.It is helpful to understand on the first watch of Hero that the story is not told in chronological order or from a single viewpoint. Each viewpoint and version of the story has a particular color hue. When the warrior Nameless is brought before the Qin emperor, gray and black dominate the color scheme. Nameless has killed the three most infamous and dangerous assassins in the realm granting him unprecedented access to the emperor, coming within 10 paces of him with only several rows of candles between them. The emperor asks Nameless to explain how he came to possess the weapons when even 3000 soldiers could not acquire them.
Nameless (Jet Li) tells the emperor a story of how he defeated Sky (Donnie Yen) and his silver spear in the rain accompanied by an old blind man playing the guqin. Every time I watch this movie it is a treat to see Jet Li and Donnie Yen fighting in the rain with water dripping from the rooftops. Next, in a world gone crimson, Nameless explains how he defeated the warriors and lovers Snow (Maggie Cheung) and Broken Sword (Tony Leung). Broken Sword believes that calligraphy and sword fighting are intertwined. He and Snow are the masters in a calligraphy school drenched in red but have a rift driven between them. This vermillion school is the home of primal emotions-jealousy, hate, lust, and revenge. Nameless wants a banner with the unique and 20th version of the word "sword". This memory has a sequence with an extraordinary fight between Snow and Moon (Zhang Zi Yi). In a spiraling storm of golden leaves the two women swirl and parry until blood is drawn and the leaves echo the color of life and death.
The emperor doesn't believe Nameless and gives his version of events now told in blue. The characters are calm, clear thinking and accepting instead of being ruled by their passions. Instead of Nameless ending up with the swords because of vengeance, this time the lovers willingly hand over their swords in order for the skilled Nameless to kill the emperor. After Snow sacrifices herself Nameless and Broken Sword have a balletic battle over a tranquil cerulean lake.
Finally, the truth is told in white as death hovers ever near for the characters and the genuineness of their motives is revealed. The emperor's memories of Snow and Broken Sword attacking him three years ago are in green with floating green curtains hanging from the throne room ceiling. In this emerald world Broken Sword had a moment of clarity and that clarity distanced Snow from him.
Zhang Yi Mou's lush and color saturated frames were romantic and stunningly spectacular. Every version of the events was filtered through the chosen color-lighting, wardrobe, and sets. He is a director who always knows how to get the most out of nature's scenery whether in the wind blown desert or a verdant hillside. Tan Dun's score was splendidly lovely and mournful.
This film had a dream cast. Jet Li's reserved acting was perfect for the Nameless and committed warrior. Maggie Cheung and Tony Leung have never looked more beautiful. Snow and Broken Sword had a tender yearning for each other tragically tethered to her burning desire for revenge. They were truly the emotional heart of the film. Neither the lovers nor their swords could ever be parted. Their final scene was emotionally shattering. Zhang Zi Yi played Broken Sword's servant, Moon. Thinly drawn, she filled it out as much as she could. Donnie Yen was only briefly featured and brought the martial arts credibility to go along with Li's. Chen Dao Ming gave the right amount of balance, maybe more humanity than he deserved to the tyrant emperor.
Despite being a wuxia, the fights were not the main thrust of the story, even though they were well choreographed and shot. For those not familiar with the genre, the fights often relied on wire work. Though most of the actors were quite graceful as they danced and twirled in the air, there were a few gaps. The choreography tended to err on the side of the visual instead of the realistic which made for imaginative sword work. Jet Li moving through the rain drops is still one of my favorite movie images. The large Qin army raining down impossibly numerous arrows on the calligraphy school with two characters countering them conveyed the dire situation of the heroes and the high stakes.
The only thing that kept this film from being perfect for me was the ending. The emperor's adage that the brutal destruction of his enemies and annexation of their lands was for the greater good and the hero's acceptance of this was disturbing. I thought it was ironic that the old calligraphy master said, "Qin arrows can never annihilate our written words." In reality, the emperor did just that by massive book burnings and burying alive over 400 scholars who disagreed with him. I do agree with Broken Sword that the goal is to be rid of the desire to kill and the need for the sword and to live in peace with one another. Because this is not my country and history, I do not have an educated view on this emperor, only a limited personal opinion. Whether desiring to kill the emperor to prevent further war or letting him live to prevent further war, the heroes were willing to sacrifice all for their beliefs.
Despite the ending, I loved this film. The haunting score, the lush colors, fanciful fights, and sorrowful love story pull me in every time. In large part due to the stellar cast and Zhang Yi Mou's exquisite directing style, I have found few wuxias better than this one.
3/27/23
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The world is not ruined by the truth
The King's Letters gave a fascinating glimpse into the creation of Hangul, the Korean alphabet. It was set in 1442 with King Sejong the Great determined to do something for his legacy as the sands were quickly running through the hourglass of his life and reign.The Joseon court was largely ruled by ministers and scholars schooled in Confucianism and Chinese writing. They were not at all interested in developing easily learned phonetic letters for their language. Sejong wanted all of his people to learn to read and write which would have meant more competition and a threat to their power and positions.
King Sejong was not to be deterred. An envoy of Japanese monks arrived demanding the Tripitaka, the oldest collection of Buddhist scriptures written in Hanja on over 80,000 wooden blocks. A series of dots connected him, with some help from the Queen, to the Joseon Buddhist monk in charge of the Tripitaka. Sejong discovered the monks could chant, read and write in Sanskrit which was based on phonetic letters. His Eureka moment occurred after years of failed attempts to create an easy and useable alphabet. Promising the monks he would build a temple in the capitol if they would help him with the alphabet, an uneasy alliance was formed.
Much of the film covered the monks and king working through their language and breaking it down into a total of 28 consonants and vowels. Instead of memorizing thousands of characters, what they were developing would make it much easier to be literate. Sejong wanted the letters to be elegant and concise like geometry using only lines, dots, and “facets”. The major conflict of the story was keeping what they were doing from the Confucian court. Due to conflicts with the Buddhists during the Goryeo Dynasty, there were hard feelings on both sides. Most of the tension, however, dealt with the ailing king fearing he wouldn’t live long enough to not only create the letters but also to spread their use so that they would be protected and take root.
Spoiler alert! Of course, they succeeded as we all know. Sejong did end up giving the Confucians credit to try and gain their support. It took time for the “vulgar” or “women’s” script to be accepted. Thankfully, women and fiction writers used it as well as Buddhist monks which kept it alive until it took hold. In 1849, it was adopted as Korea’s national writing system. Even the Japanese during their occupation who outlawed it, couldn’t kill it.
The King’s Letters did tend to slow down and become repetitive in the latter part. I am enough of a documentary geek that this felt like an enjoyable one only dressed up and with excellent acting. Song Kang Ho (King Sejong) had great chemistry with both Park Hae Il (Monk Shin Mi) and the late Jeon Mi Seon (Queen So Hun). The cinematography, sets, and costumes were all lovely.
King Sejong was playing the long game, he wanted an educated people who would only make the country stronger and more enduring. His vision didn’t come to bear overnight or even in his lifetime, but he planted a seed that did take hold, blossomed, and bore fruit. Is still bearing fruit. A legacy of knowledge which can break down class lines and open communication is not such a bad legacy after all.
10/10/22
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Love is found on The Road Home
The Road Home tells of a simple love story, one that is simply beautiful and sincere. It is also a look at how the past informs the present and ties those in memory together.Yusheng is a grown only child returning to the snowy mountain village where he was raised upon receiving the news that his father has died. His mother will not be consoled until he promises to have his father's body returned to the village from the nearest city by foot, a traditional custom enacted so that the dead can find their way home. As he discovers, it will not be easy, for the only people left in the village are too old or too young to be of help. He perseveres for his mother's sake and as he does he reminisces about his parents' love story.
The present is told in black and white, but as the past opens up it was like leaving Kansas and stepping into Oz. Director Zhang saturated each scene in color, making every shot worthy of being framed. Zhang Zi Yi as Di, in her first role, was ethereal as the eighteen-year-old girl, wearing pigtails and a bright red coat. The village was building its first schoolhouse and it was love at first sight when Di laid eyes on the schoolteacher who rambled into town. The small village was Luo's first job, though well educated he hadn't been able to find work until someone brought him into the mountains. On the road Di would walk the extra distance to the well by the schoolhouse just for the chance to hear his voice. On the road she would watch him walk children home and then stealthily follow him on his return until the day she emboldened herself enough to meet him. When Luo had to leave because of a political offense, Di waited for his return on the road.
Little happens, but even a broken bowl or a lost hair clip have meaning. A bowl of dumplings carried by a girl racing through the hills, propelled by young love has more meaning than a thousand sonnets. The villagers with their traditional roles look out for each other. Di and Luo have few words of dialogue but their earnest looks and actions speak volumes. Yusheng's voice over narration is almost like he's reading a book as he recites their story that he and the other villagers know by heart.
Zhang Yi Mou's use of light and color never fail to mesmerize me. He gets the most out of natural scenery whether it is a golden forest or snow covered fields. He also knows when to hone in on his actors and Zhang Zi Yi made it easy for him with her lovely expressive face. There was no doubt his camera loved her face and movement as Di ran through the mountains for a glimpse of Luo. The softly romantic music enhanced the picturesque scenes and gently developing story of true love.
The film revolves around Di, Luo and the cherished schoolhouse, both in the past and in the present. Traditions and customs thought forgotten give meaning to many in the present as Luo is brought back on The Road Home to be laid to rest. Love is both lost and found on The Road Home. Remembrance and family ties are renewed on The Road Home. This film resonated with me as Yusheng came to terms with life away from the village and the importance of the past as he traveled The Road Home. Quietly simple, the path on The Road Home is one worth traveling.
9/21/22
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This review may contain spoilers
A kill or be killed world and love
When a film begins with a traditional marriage where the bride wants to murder the groom on their wedding night you are left with the question, "Which one is the The Legend and which one is the Butterfly?" A political marriage of the uncouth Fool of Owari and the cunning Viper's Daughter made for an explosive and potent combination.The story was a reimagining of Oda Nobunaga and Nohime's marriage as little was known about it. Historically, she was thought to be beautiful, intelligent, and skilled with a blade. In this version of the life story of the first "Great Unifier" of Japan, she was the genius and fire behind the man.
Nobunaga and Nohime clashed, sometimes violently, in early scenes in the film. The story takes place over thirty years, giving short amounts of time to major events in their lives, usually converging with battles for power outside of the marriage. Eventually, they come to a place outside of Nohime's role as a spy for her father and her infertility where they could move beyond tolerance and reluctant admiration to love. But true love rarely flows smoothly with pride, vengeance, and illness creating problems.
Kimura Takuya was able to portray Nobunaga's carefree and coarse youth with buddies outside of his caste. He also conveyed the weight of the battles and familiar lives lost, showing the transformation from the Fool of Owari into the Demon King capable of ordering women and children to be killed. Ayase Haruka transcended many of her drama roles as the tough as nails and brilliant strategist, Nohime. I was saddened as her role diminished once she fell in love and yet she still wrung as much out of Nohime's shadow as she could.
The gorgeous sets, elaborate costumes, music, and cinematography were all well done. It would be hard to fault unless there were some anachronisms involved. I am not well versed in the history of this era so I can only comment on the entertainment value of the film for an outsider. While I enjoyed the fast-track history lesson, the romance between Nobunaga and Nohime was difficult to comprehend as both held their emotions close to their vests. They only allowed their true feelings to show a couple of times. It could be hard to keep up with their emotional "growth" because of the constant short time jumps and quick changes in attitudes as Nobunaga strengthened his resolve to kill everyone who opposed him and she softened desiring a normal life with him more and more. As much as I wanted to care about the two, it was difficult to emotionally connect to them and their conflicts. Perhaps this would have worked better as a short drama so that their personality changes could have been delved into more and not be seen as so abrupt.
The Legend and Butterfly was entertaining even if it lacked the emotional depth I was looking for between the spouses. Regardless of historical accuracy, it was refreshing to see Nohime shown as a capable and intelligent woman, a wife Nobunaga could turn to for sound advice. Whether Nobunaga was a Fool or a Demon, neither, or a little of both is for people far more educated on the subject than me to comment on. As a film, a nearly 3 hour film covering 3 decades, focusing on the marital harmony and disharmony of one of Japan's most famous historical figures, The Legend and Butterfly succeeded largely on the likeability and skills of the performers. It was a kill or be killed world and for a time, marriage.
5/19/23
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"I went far away only to find nothing was different"
The Breaking Ice was a slice of life film that was more mood than plot. Filmed during the frigid winter in Yangi, China near the North Korean border, the snowy mountainous setting was easily the fourth main character in the story of three young adults disenchanted with their lives and in need of healing and connection.Na Na leads tours in the Korean prefecture of Yanbian and doesn’t hesitate to ask for tips and good reviews with a smile on her face. Han Xiao works at his aunt’s restaurant in Yangi where Na Na brings the tour groups to eat. Hao Feng has come to town for a wedding. He spends most of his time dodging phone calls about his missed mental health appointments and staring down from the building wondering whether he has the courage to jump. He sees Na Na’s tour group and joins it the next day. When Na Na lets her mask slip around him, he finds a kindred spirit. After his phone is lost with his virtual wallet, Na Na invites him to dinner with Xiao. The three drink, dance, and later sleep it off at Na Na’s apartment. The next day they jump on Xiao’s motorcycle and travel on their own tour of the area.
“Whether I like it or not, I still have to do it.”
Zhou Dong Yu managed to lift dour Na Na above the material and give her emotional depth where the script did not. Liu Hao Ran brought a fragility to Hao Feng even though the writers were stingy with his backstory. Qu Chu Xiao’s Han Xiao wisely underplayed any jealous feelings Xiao might have had as Na Na and Hao became more intimate. The men’s friendship overcame hurdles that would usually derail them. Xiao was a good apple who even gave Hao a coat when they went hiking in the knee-deep snow, showing that the German saying, “There is no bad weather, only bad clothes,” worked in China as well. Though Xiao wasn’t a well-developed character his compassion toward a stranger was revealed in different significant layers.
“I’ve been away so long, I’m not even sure where home is.”
Xiao and Na Na had moved to Yangi and became stuck professional and emotionally. Both of their jobs had been adversely affected by the pandemic and both dealt with family separations. Hao may have had a good job in Shanghai, but he was equally disaffected. The three people were as isolated and closed off as the snow-covered mountains surrounding them. Yet they found warmth and healing connections as they spent time together.
“I don’t want to be alone.”
Director Anthony Chen and cinematographer Yu Jing Pin created beautiful shots of ice and mountainous roads and trails, lighting everything with exquisite care. The interior shots in contrast were warm, although the clubs highlighted the remoteness of the individuals as they drank and danced in the crowd. The film was gorgeous to watch and the music set the mood perfectly. The acting was all on point. My only complaint is that little was revealed about the characters, especially Hao Feng. Sometimes I had to create my own dots to connect. Despite my reservations, I quite enjoyed this film of three people reaching out and accepting each other where they were for the time they had together.
2 November 2024
7.75
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"This is not the place for you to seek the truth!"
Under the Microscope was an interesting title/translation for this drama focusing on a math obsessed male lead who used zero microscopes. Why not “You Can Count on Me!” or “Who Is Plotting Something Evil?” lol I may not have understood a “fraction” of the math involved but the story was “greater than” the “average” drama.“Arithmetic is the most honest thing in the world”
Jia Mo and his buddy Bao Yu make extra cash at gambling dens by utilizing Jia Mo’s savant-like math skills. They run afoul of new casino boss Lu with Bao Yu’s sister Bi Yu coming to their rescue. Having helped with surveying property, Jia Mo can’t figure out how his calculations for property lines aren’t adding up. He has Bao Yu gain him entrance to the official archives to check the records. While he’s researching the books he finds the number 3530 that his deceased father had told him to remember. He discovers it’s in conjunction with a Silk Poll Tax that appears to be in error. When the friends bring this up to the local authorities, instead of being pleased that their tax bill should be shared with 7 other counties reducing the amount the people pay, the 8 county magistrates close ranks casting aspersions on them. “If someone is diligent for no reason, he must be up to no good.” Jail and floggings can’t deter them. Jia Mo and Bao Yu move forward to try and find someone to hear their case.
“The silk is only a cover. The thing wrapped inside is the most valuable.”
The government bureaucracy was the least of Jia Mo and Bao Yu’s “problems”. When the “count(y)” magistrates were “irrational” and refused to listen to “empirical” evidence, it was a “sine” that the 3530 taels of silver held less “value” than what they were hiding. The “algebros” were often in “real” danger from the enemies who grew “exponentially.” Every time Jia Mo was on the “cusp” of success, the people in “power” would try to “point” out flaws in his equations. They were “mean” and seemed to “derive” great pleasure from the “inequality” they had created in their “operations.” Jia Mo also had flashbacks of his parents that he wasn’t sure were “real” or “imaginary”. Bao Yu was a “positive” and “constant” companion on their journey though he had a tendency to fall into “trap-azoids.” As the two “squared” off with their “calculating” enemies,
other players with their own “angles” joined to help “solve” their “prime” issues. Though the “probability” of success was a low “percentage”, the new allies stayed strong in the face of greedy men on a “tangent.”
“If the numbers are wrong, they should be corrected”
Under the Microscope was engaging and though the math wasn’t as easy as “pi,” the “sum” “total” of its parts “added up” to a drama that wasn’t “perfect” but “finite” entertainment with characters you could “root” for. The “common denominators” being strong performances, realistic “sets”, and a story “integral” to the real world where “negative” and “obtuse” people think money “equals” righteousness and honor. Fortunately, every once in a while, “ordinary”, but “significant” people step up and “point” out “solutions” to “problems” that will help society to “function” better.
18 September 2024
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This review may contain spoilers
How to write a review on a 3-minute short movie? Make it short as well and hopefully meet the MDL word requirement. She Brought Colour into My World pushed the boundaries of censorship with this story of love and friendship between two women. A lovely young woman resides in a world of stony black and white. The new neighbor has just returned from studying abroad wearing an ethereal white dress. Dressed in beautiful clothes both traditional and Western, the two neighbors meet and have an instant rapport and the young woman's world is filled with color. The woman in white regales her with stories from outside the walls and gives her a gift. They explore the city, dance and hold hands. In 3 minutes a whole relationship blossoms free from censorship or at least for a while and a choice must be made. Stay in the world of color or return as before to cold stone.
I enjoyed this short film that pushed the boundaries with its open subtext and told how love can bring color into our lives and just as easily take it away.
29 January 2024
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Shujiro Saga is a skilled samurai who has been retired after a devastating battle that obliterated everyone on the battlefield with new weaponry. Swords have been outlawed in the new government and the samurai have been shuttled aside. Suffering from debilitating PTSD, he couldn’t use his sword if he had to. To top things off, his family is suffering from cholera and he has no money for medicine. When he hears about a gathering of samurai for a contest with a 100,000 yen prize, he has no choice but to join. At the gathering he finds other desperate people and also samurai desperate to fight, a deadly combination made worse by the conditions of the contest and the ever watchful, heavily armed guards. Along the way from Kyoto to Tokyo, Saga becomes allied with, or rather babysitter for an eclectic group. Aside from the rank-and-file contestants after them for their tokens, is also a shadow from his past intent on taking more than his token.
The comparison to Squid Game was inevitable despite the fact that these kinds of gruesome games have been played out in the movies and television shows for decades. The main thing the two have in common aside from pitting players against each other is that both focus on people who have been pushed to the edge economically and emotionally. I suppose the other is that whenever the camera diverted to the wealthy elite betting on the contestants, the emotional momentum came to a standstill. None of the people behind the game was particularly compelling, in fact, the Big Bad was downright disappointing. The drama was at its best when it focused on the contestants.
Okada Junichi made for an excellent conflicted lead. A loving father and husband, he was also believably Kokushu the Manslayer. I won’t go into his entourage so as not to spoil too much. The acting there was hit or miss. One of the villainous contestants was simply drawn as a mindless killing machine, though the actor chewed through the scenery in the bloody performance. In this contest, aside from Saga, mercy or complexity was rarely a strength.
The Last Samurai Standing was on its way to an 8.5 from me as I was quite enjoying it. For the genre, it delivered on what you’d expect, though no real surprises. The fights were well choreographed and not for the squeamish. The last episode veered into unrealistic territory which was jarring. Yet it also set up huge stakes beyond the contest for our intrepid little band of contestants. Surrounded by powerful enemies, it will be interesting to see how or if the writers can bring this to a satisfying conclusion when the second season rolls around.
14 November 2025
Trigger warnings: The heads rolled in this drama like a macabre bowling match. If you ever wondered what the Yojimbo blood spewing fight would look like in color, well, here’s your opportunity.
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