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"A faithful heart makes wishes come true"
I first watched this film when it was theatrically released in my country years ago. All I had to go on was a friend's recommendation and zero background in the wuxia genre. To say I walked into the nearly empty theater apprehensive would be an understatement. My fears were for naught. In a matter of minutes, I was completely mesmerized by the cinematography, music, and acting. Having watched my share of fantasy and super hero movies, I had no problem with the flying and light body technique as the characters danced across rooftops or fought high in a bamboo forest. The graceful movements and fighting techniques were like nothing I had ever seen. Crouching Tiger, Hidden Dragon was the gateway into a new world for me. Little did I know that it would set the bar for all films that followed.Though this movie was a wuxia, the heart of the film were the two romances. Yu Shu Lien, the owner of a delivery escort service and Li Mu Bai, a warrior trained at Wudan had fought their feelings for years. Their love was unrequited as Lien had been engaged to Li Mu Bai's friend, but he was killed and the two would not act on their feelings. Now they are reunited as Mu Bai brings her his famous sword, The Green Destiny, and asks her to deliver it to their protector. His journey toward self-enlightenment has brought him to her and he wishes to leave the bloodshed behind them. The 400- year-old sword is too much temptation for Jen, a young woman engaged to be married but secretly trained by the devious Jade Fox. The incognito Jade Fox had poisoned Mu Bai's master years before for his refusal to teach her the secrets of Wudan. Lien is aware who stole the sword and works to return it without bringing any dishonor to the families involved. The middle of the film focuses on Jen and her previous love affair with Lo Xiao Hu/Dark Cloud, a charismatic desert bandit, and in the present when she takes the sword a second time to find her way as a wandering warrior. Mu Bai and Lien know she needs someone righteous to train her before she becomes a poisonous dragon. The treacherous Jade Fox has only vengeance on her mind for Jen and Mu Bai. By the end of the film the characters will collide in a deadly conclusion.
On a recent re-watch, I could see all of the classic wuxia elements from the over 200 martial arts movies I have watched since that long ago day in the theater. Ang Lee used those elements but blew them up into a grand epic, showcasing a wide variety of stunning scenery taking the genre where it had not been before. Characters traveled through the mountains, desert, verdant valleys, and lush bamboo forests. The inn and outdoor café sets ubiquitous in so many old kung fu films made their appearance in grand style this time. The busy city streets didn't feel like a small set, but substantial with plenty of extras to add an additional layer of realism. Ang Lee made full use of the sets and scenery to bring about an energetic and beautiful atmosphere for the story to be told in. Unlike so many martial arts movies prior to CTHD the characters in this film were more important than the fighting. He not only succeeded in making a gorgeous framework for the story but also in developing characters we could feel empathy with as they struggled with their deepest feelings. They had depth and emotional weight to them instead of the thinly drawn characters of old. By paying attention to the smallest details and insisting on a quality presentation, Ang Lee set the bar higher for those who would follow him.
Michelle Yeoh was a revelation to me, and I will always be thankful for this film introducing me to her. She had been in the business for over 15 years at this point honing her craft and risking life and limb at times to do so. Though her fighting technique was fearless, quick, and agile, it was her expressive face revealing longing, fierceness, and tenderness that quickly drew me in and made me a life-long fan. Her portrayal of the mature and wise Yu Shu Lien was perfect. Chow Yun Fat as the spiritual warrior Li Mu Bai, showed how he was torn between his love for Lien, his desire for enlightenment, and his need to avenge his teacher. His calm demeanor was in stark contrast to Jen's firebrand personality always teetering on being out of control. Zhang Zi Yi in only her second film held her own with the veteran actors. As Jen she conveyed naivete, passion, and anger fluidly. Chang Chen as the ardent Dark Cloud resonated the wildness of the desert and his fervent love for Jen. Again, there was the contrast of Jen and Lo's fiery passion in comparison to Mu Bai and Lien's controlled, repressed love. Rounding out the stellar cast was Cheng Pei Pei as Jade Fox. I have gone on to watch her earlier movies where she had been the young female warrior who faced insurmountable odds, paving the way for other actresses. I'm so pleased they used her in this movie as the vengeful villain and gave the kung fu veteran a chance to shine.
Lien and Jen both sought freedom in their own way and both were bound by duty. Jen loathed being forced to marry wishing only to be free and Lien greatly desired to be with Mu Bai, but was prevented by a rigid sense of honor. The two couples were the inverse of each other emotionally and would gradually become more like the other whether a crouching tiger, biding its time or a hidden dragon of emotions. Lo and Jen, embodied the recklessness of youth with no regard for tomorrow. Lien and Mu Bai sought to guide them to more thoughtful actions. For restrained Lien and Mu Bai, they had reached the point where they were finally able to break through their control to unleash their feelings and unspoken words. True love trumped spiritual enlightenment as what was important became revealed in one last breath.
The only quibble I have with this magnificent film is with the long flashback interlude showing Jen and Lo's love affair. It was similar to The Taming of the Shrew and feels dated in the telling.
Yuen Woo Ping masterfully matched the fight choreography to the mood of the film. The actors did much of the fighting, check out all the face time during the battles. Instead of CGI, the floating and leaping, even in the bamboo forest-truly a thing of beauty, was accomplished by wire work. The fights were more elegant than brutal and more visually captivating than realistic. Aside from the bamboo forest fight, the fight between Lien and Jen was spellbinding. The experienced Lien used a variety of weapons as she sought to subdue the thief of the Green Destiny in a memorable fight choreography.
After my recent re-watch I found that Crouching Tiger, Hidden Dragon has stood the test of time. Though I have searched for its equal or better through the years I have yet to find a martial arts film to top this one. Only Hero's stunning aesthetic came close. Compelling characters, wonderfully acted, enchanting cinematography, a haunting score, and balletic fight scenes have made this the measuring stick for all other films. It is rare for a film to touch me deeply emotionally and this one has for over two decades. I need to remember to thank my friend again for encouraging me to visit this world of wonder.
3/31/23
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"Tastes of life"
My Wiggly Friend takes viewers on a taste tour of rice noodles in China. The documentary covered different dishes as well as the devoted chefs who lovingly prepared them. Each short episode focused on three different restaurants from three different regions. First developed in Jiangxi 1800 years ago, Jiangxi alone produces more than 1.4 metric tons of rice noodles a year! Suffice to say this documentary only opened the door to a wider array of noodle creations.Episode 1 covered Sour Noodles made by a bad-tempered chef with tomatoes that had been fermented for a year. The dish was garnished with Litsea oil. In another city, two brothers created River Snail Rice Noodles with pickled bamboo shoots. The draw for customers was the "stinky" aroma. I'm not sure if it was a bad translation but the narrator called the pickled bamboo shoots a "biochemical weapon." At the last place, an older couple made Old Friend Rice Noodles out of pork and chicken, fermented black soybeans, and fermented bamboo shoots. The "stinky" soup was said to make you "sweaty and full". All of the dishes were described as strange which could have been a subbing problem.
Episode 2 began with truck drivers stopping at a 24-hour truck stop where Mutton Rice Noodles were served by a mother and daughter. The soup began with a goat skeleton being used to make the broth. Scalding Rice Noodles was the next stop with father and son chefs. They were known for their spicy tripe noodles. The father tested his son's ability to make Rice Noodles with Eel Gravy before agreeing to hand the restaurant over to him. Finally, Termite Mushroom and Chicken Rice Noodles was cooked by an older chef for his wife using his family's traditional method of slow cooking it in a wooden chest.
Episode 3 began with a family famed for their Lard Stirred Noodles made with lard extracted from pork belly. Next a bickering mother-in-law and daughter-in-law sold Spicy Noodles out of their food truck to hungry office workers. Lastly, was the bland but strong Brine Soaked Noodles with crispy pork and pickled string beans described as something of which you "cant dodge the strong smell".
Episode 4 was for the more adventurous as it featured a small breakfast shop in a market across from an open-air butcher. The sour and bitter soup was made using cow intestines with the digested grass still inside-Beef Sapei Noodles. It was accompanied by fried beef skin. From turf to surf, the next culinary adventure was Seafood Rice Noodles made with fresh seafood and sand worms. The last stop in the episode was food from the mud-Cattail Root Rice Noodles made from Cattail roots and jellied pork blood.
Episode 5 explored different shaped rice noodles. The first up was a dish made by a rice roll master who filled Cloth Rice Rolls with meet or eggs, like one might a crepe or burrito. Stop 2 featured Diamond Rice Stir Fry and also a beef bone soup with rice lumps. The final visit was to a place where the chef made Duck Soup with Rice Pellets. Said to have a mild flavor, it was good for children and older people because it required little chewing.
Most of the restaurants shown were run by families or friends and had been in business from 20-50 years. Some of the people gave back by teaching a new generation the old techniques. The people running the businesses and cooking, like hard working people in the food industry everywhere, worked long hours. They were all doing something they loved and found rewarding, but it was time consuming. The documentary could be heavy-handed with the older couples being romantic and glossing over the families where the children of the busy owners missed out on attention. I did feel bad for the son being tested on the eel rice noodle dish. He'd been cooking since he was twenty and it took his elderly father over twenty-five years to give him a compliment!
I can't say that the majority of dishes made my mouth water but I'm fascinated with what people eat and how they prepare the dishes. It was also interesting how different places utilized the local food sources whether it was termite mushrooms or sand worms. The photography was skillful during the food preparation scenes and also gave glimpses into the varied cities and villages. Word of warning: if you are a vegan or squeamish you may want to avoid this show as there were butchering scenes and numerous animal prep scenes.
I enjoyed the insight into the creative and dedicated cooks who not only worked to keep traditions alive but innovated as well. If you enjoy food documentaries, this ode to China's love affair with rice noodles would be worth a try.
"Those who work hard definitely have some good luck."
3/25/23
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We are the stories we tell
Taipei Exchanges is a gently introspective slice of life about two sisters who ponder what stories hold value when they set up a barter system in their coffee shop. This film is not for everyone. The changes in the sisters and their customers are small and quiet and will go unnoticed if you don't pay attention from your table in the corner of their café. If coffee and discovering the meaning behind the stories people tell about their lives and belongings interest you, pull up a chair, order a coffee and cookie and see where the film and memory takes you.If someone gave you the money to do one thing, which would it be? Use the money to study or travel?
Doris is practical and has always wanted to open an elegant coffee café. When she finally has the opportunity fate turns her dream into the quirkiest shop in Taipei. Without giving too much away, on her opening day she ends up with a plethora of calla lilies and invites people to bring something to exchange for them. Afterwards with their shop full of junk, her sister has the idea that customers can bring something to exchange for whatever is in the shop thinking it will create more foot traffic and people will stay longer and drink and eat more. Doris reluctantly agrees hoping it will lead to financial freedom for her. Josie wants a car for herself and a set of bone china for her mother.
Along the way, the sisters find that what things are worth is a deeply personal belief. What is the story behind it? Love letters, songs, a mirror ball, stuffed alligator, and even cleaning out the backyard drain are up for exchange. As Doris hears the stories of the places people have traveled, a shift begins to take place in her.
What do you treasure the most?
Doris makes a decision that seems radical and perhaps it's radical self-love to realize that what we value may change over time. The sisters believe that whatever you are looking for, someone has and it's only a matter of time before the need to have and the need to release meet each other. Often our lives can be changed by one small incident and decision, in Doris' case a fender bender with a small truck full of calla lilies led to small change after small change leading to a larger change in her life and the lives of those around her.
Taipei Exchanges is beautifully and thoughtfully shot, within the store and around Taipei. The OST is soothing and won't jar you out of the existential questions that arise over what we value, why, and what is our inner value to ourselves and others. For the most part the acting is natural and the sisters have good chemistry in the way that sisters who love each other still bicker. Some of the basic business issues are touched upon when starting up a business, but don't weigh the story down. People off the street answer two of the questions above and though some may sound more scripted, others are quite relatable.
Everyday we tell ourselves stories about our failures, hopes, dreams, and even the lies about ourselves that help us sleep at night. We cherish the stories behind an object or even despise an object because of the emotional baggage that it carries. Is a song worth a book? A Barbie dollhouse worth a mirror ball? What happens when people exchange goals and dreams? This film will not turn your world upside down, but it may cause you to take a moment to look around and even within yourself and wonder what has value and why?
If you had the choice between money and calla lilies, which would you take?
2/24/23
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Misfortune Teaches Us the Truth
What would you do if you had six months left to live? When we are young, aflame with dreams and a perfect view of what our world will be we never think that one day due to life circumstances we might become a mere cog in a machine and the weight of corporate or public bureaucracy will extinguish that flame with its inertia crushing in on us. If we are not careful each day can become the same without making any difference in the world. Director Kurasawa breaks through the darkness of merely enduring the days by elevating a civil servant nicknamed "The Mummy" who hasn't really lived in 20 years to hero status. The hero's journey is not without suffering and heartache, and a behemoth of a monster to face before he leaves this plane of existence. With the sands of the hourglass rapidly streaming out he has one goal to reach, one thing to do to have made his life worth living and in the final moments to give it meaning.Ikiru begins with a death sentence being handed out to the Public Works Chief, Watanabe Kanji. Watanabe sits at his desk stacked high with papers just as he has for 30 years without taking a sick day, shuffling and stamping the papers validating his reason for being there. Once 20 years ago, he submitted a proposal for making the job better only to be shot down. Now he uses the proposal pages to wipe his glasses.
Upon finding out he has stomach cancer he is devastated. Kurasawa gave us a brilliant scene as Watanabe leaves the hospital so absorbed in his own thoughts that the world is silent. When he is jarred into reality the loud noises of life intervene once again. His son and daughter-in-law only want his money to buy a house and don't even ask what's wrong when they find him sitting in the dark. With no one to talk with, in a powerful moment he covers his head and cries himself to sleep.
At a chance meeting in a bar, Watanabe meets a small time writer. The writer plants seeds in his brain about no longer being a slave to life but being its master. Never having ordered a drink before Watanabe asks for help in having a night of fun out. The writer takes him out on a raucous night on the town. At their last stop the piano player asks for suggestions and Watanabe asks for "Life is Brief". In a low deep voice, the older man sings as the pianist plays silencing the revelers around them as the listeners reflect on the words of the song and Watanabe's grief.
A young girl from his office shows up the next day at his house because she needs his stamp to hand her resignation papers in. When he asked why she is leaving she tells him the boredom is killing her, that the only thing of interest that's happened in over a year is when he didn't come into the office. Her youthful exuberance and their casual meetings lay the step for his next revelation. He needs to make something to feel useful and relevant. Happy (Re)Birthday Watanabe Kanji!
With the energy of a man possessed he determines to answer the pleas of some local women who have been given the run around about a cesspool in their neighborhood. The women want it filled in and turned into a park but had been shuffled between 20 different departments before being sent back to Public Works.
The film jumps to his funeral and the last half of the movie is shown in flashback as the mourners piece together his motivations and what courageous steps he took as he fought the machine he was a cog in by wearing it down to have the park built. At first the upper echelon patted themselves on the back saying he had nothing to do with the new park. After they leave the cogs in different departments start comparing notes and realize how hard he fought even as he was dying to do something worthwhile, no small feat in a world of petty bureaucratic fiefdoms.
The cogs are jarred out of their complacency and vow to make a difference and not let the machine kill their desire to make meaningful changes. But as they find out as well, the machine doesn't like change, making Watanabe's work all the more heroic.
There are moments in Ikiru that will give you pause, make you misty-eyed, and even laugh. As the mourners gossip and take credit your blood will boil at the injustice and cause you to cry out for Watanabe. The silenced voices of small cogs eventually join the viewer in being advocates for the man willing to change and willing to make a change, regardless of the cost. A man no longer afraid to keep persevering in the face of the word "no". No longer having the time or energy to hate. No longer afraid of death. This hero had only one enemy-time and only one super power-tenacity.
Watanabe had faced an existential crisis. Not only had he been handed a death sentence but he was faced with the realization that he had only been going through the motions for 20 years, wasting the precious gift of life. We are all handed a death sentence the moment we are born, we just don't know its date. Ikiru is a beautiful film that asks the viewer as much as the central character to self-reflect on their life and its meaning, whether it is being lived with purpose. The final scene of Ikiru is poignant and reminds us all that Life Is Brief, remember to live it while you can.
9/16/22
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"Only sincere ones need apply"
If You Are the One is a pragmatic love story infused with gentle humor, but not your typical romcom. Stars Shu Qi and Ge You were able to cover over the obvious problems with the story with their enormous likeability.Ge You played Qin Fen, a 40ish man, who had recently come into money and was ready to find a wife. He found a dating site and listed his honest qualifications and what he expected in a spouse. "Only sincere ones need apply". Of course, at his age and prerequisites he had several humorous takers including a woman selling grave plots, a stock broker who assessed his continually devaluing worth, and an old Army buddy who had hoped he'd changed teams. One of his blind dates was with Smiley, the luminous Shu Qi. It didn't take long for the two to realize that they weren't compatible but they ended up going for drinks and revealing their dark secrets in a very human moment. Smiley, it turned out, was in love with a married man who kept dangling marriage in front of her but who was unwilling to leave his wife.
Though the two swore to never see each other again, destiny had other plans. Serendipity kept dropping them into each others' paths. Smiley decided to become Qin Fen's girlfriend with the caveat that her heart still belonged to her ex-lover though she would never act on it. The two take a trip to Hokkien, Japan for her to make peace with her decision and hopefully leave the memory of her lover behind. The incongruous couple engaged in a long road trip with Qin Fen's tour driver buddy Wu Sang. Realizing his good fortune of a lovely, young girlfriend Qin Fen stopped at a Buddhist temple to pray only to interrupt a Yakuza funeral. He later went to a Catholic chapel where he confessed every sin since kindergarten to a priest who didn't speak Mandarin, finally driving the priest to tell him he needed a bigger cathedral to confess in because the chapel was too small to hold all his sins!
If You Are the One was not a typical head over heels falling in love film with a race to the airport at the end. It was far more practical as Qin Fen reflected upon his lonely life and Smiley realized her great love affair was not going anywhere, that maybe the two misfits could rely on each other and love would slowly bloom from friendship.
The second half of the film devolved into more of a scenic Japanese road trip, though the scenery was beautiful. There was also a nice tour of the West Brook Wetlands and Hangzhou earlier in the story.
It would be hard to fault the acting, Ge You and Shu Qi played their roles brilliantly. The lapses come in the narrative. The huge age gap between the two was never directly addressed. Why gorgeous Smiley was attracted to a bald, cranky middle aged man, especially when she was hopelessly in love with her sexy lover also was glossed over. Shu Qi did an amazing job as the emotionally wounded character, unable to find meaning in her life without her lover, utterly drowning in despair. As pragmatic as Smiley was though, it was difficult to understand some of the decisions she made over a failed love affair.
There were some interesting topics brought up that I haven't seen in recent movies. A gay character was introduced as something completely normal, clearly against more recent rules. During Qin Fen's blind date with a Taiwanese woman, the two debated whether there had been a liberation or a regime had fallen in regards to the exodus to Taiwan during the 1940's. And finally, a woman was reported to the authorities for wanting to find a way to stay in the United States. Usually, these sensitive subjects aren't broached.
For a slow burn romance with scenic cinematography and more than capable acting, If You Are the One is a nice change of pace from so many frenetic romantic comedies. It could be uneven at times but Shu Qi and Ge You managed to charm me enough to enjoy my time with them.
9/7/22
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Ice Bar delivers a nostalgic, joyful story that goes down like a soothing ice bar on a hot summer day.Enthusiastic ten-year-old Young Rae and his single mother struggle to make ends meet in 1960's Korea. His mother sells smuggled cosmetics and gets into fights using most of her money on fines and not on Young Rae's tuition. Young Rae is often the target of harassment because he's a fatherless "brat" though he can give as good as gets. His best friend, Dong Su, is an orphan who hustles to make money anyway he can, and during the summer it's selling ice bars. The summer starts off with a bang when Young Rae hears his mom's drunk best friend tell him that his father is not dead, but alive and well in Seoul. His mother denies it, but Young Rae determines to make enough money to take the train to Seoul. Dong Su hooks him up with a job selling ice bars through his shady boss at the factory and that's when the fun begins. Young Rae struggles with ice bar turf wars and bullies and written and unwritten rules about where he can and can't sell. Finally, with some help from Dong Su and a young man, In Bak, the son of a "commie", who works at the factory he starts to figure out how to successfully sell the frozen treats.
The boys get into and out trouble, with no severe consequences for the most part. The biggest hurdle for Young Rae aside from earning the money is his mother who is firmly against him finding his father for fear he will take her son away from her.
Ice Bar is a lighthearted comedy that occasionally dips its toe into melodrama only to rise to a bubbly surface once again.
Park Ji Bin's bright performance as the young entrepreneur was the heart and soul of this film. His laughter and tears were infectious and touching. Future ahjumma Shin Ae Ra as his mother managed to turn what could have been a shrewish role into a sympathetic one, never letting you doubt her love and devotion for her son.
The pace of the story kept the events moving forward, tying together small side stories in aid of Young Rae's goal. Much of the action was child high, taking us on their adventures running through the streets and down to the train station. There was a real feeling of community among the regulars in the scenes as they interacted with the boys. Certain sets could feel artificial, but the characters' interactions made up for the almost play like settings.
Though a largely child friendly film, told through Young Rae's eyes, it does have the typical bullying and hitting so many older Korean movies and dramas have. There is also a disturbing incident in the last quarter of the film. Despite those detriments, Ice Bar is a feel-good movie with an effervescent score and delightful performances. Though narrow in scope, it's big in heart.
If the ending felt a bit contrived, that's okay, ice bars during childhood summers are meant to be enjoyed and not suffered through.
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Michelle Yeoh’s sister married a wealthy banker. Maggie Cheung’s sister married the revolutionary and ultimately leader of the Nationalist party, Sun Yat Sen. Later she was an integral part of the communist party. Vivian Wu’s sister married Chiang Kai Shek who would take over the Nationalist party after Sun’s death and later she would become the First Lady of Taiwan. And that’s about the extent of my knowledge on this subject.
I take all historical movies with a grain of salt, everyone has their own agenda or message they want to get across. I’m even more skeptical when governmental censoring is always lurking in the background. Someone else with more knowledge about Chinese history will have to judge the accuracy of the historical aspects of the story.
Purely as a work of art, The Soong Sisters was lovely to look at. The cinematography, sets, and costumes were lush. The OST gave the right amount of mood to the scenes that took place across several decades. Plus, I'm always happy when a film is F rated, Mabel Cheung was the director.
The actresses all gave strong performances. Wu Hsing Guo was quite charismatic as the mercurial leader, Chiang Kai Shek as well.
Where the movie faltered for me was that the sisters were rather thinly drawn. Ostensibly a movie about three powerful women, two who were the wealthiest in China at one point, the other a communist icon, should have fully developed the complex characters and given these talented actresses something to sink their teeth into.
Maggie’s Soong Ching Ling was the only sister who came across as three dimensional as she worked with the communist party to maintain the integrity of her husband’s legacy. Michelle’s Soon Ai Ling had the smallest role of the sisters. The tag line indicated she loved money, but there wasn’t much evidence of that. Vivian’s Soong Mai Ling seemed more like an infatuated school girl for most of the movie, finally developing a backbone in the last quarter of the story.
It felt like the three women were ignominiously dropped from era to era and place to place. Much of the time I wasn’t sure where or when the story was taking place. Their father’s story would have been fascinating to see made into a movie, but by devoting so much time to him and the women as children we missed out on the real meat of the story. His presence did loom over them as he had wanted a new China. Was his dream all that motivated them? What were they thinking? What kind of relationships did they have with these powerful men? Two of the them never had children, did that cause any conflict in their relationships? Extreme hardships were glossed over. The film did touch on the political conflicts between Chiang Kai Shek and Soong Ching Ling, he was bitterly opposed to the communist party and she had given up on the Nationalist Party when he took over and ordered purges. I can't even imagine how strained those family dinners were when they got together.
With all the wealth, power, egos, and rivalries, there should have been more depth to the characters and story. The Soong Sisters was a beautiful pool of water to look at, unfortunately these still waters didn’t run very deep.
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Lena is a descendent of Koreans who were forced to work for the Japanese mining coal in Sakhalin and then later trapped there after WWII. Their story would make an interesting film in and off itself as they fought for citizenship and many fought to go back to South Korea. They became second class citizens in Russia and those who made it home were less than in South Korea as well. Lena wants to bury her parents' ashes in South Korea and becomes a mail order bride to make the trip. This aspect is barely touched on and again, would have given more depth to the story to explore that process.
The male lead is a tea farmer in a remote area which lends itself to some lovely cinematography. He tries very hard to make Lena feel welcome and give her anything she needs. Lena in turn tries to help with different chores to show that she is invested in the relationship. She calls him ahjussi throughout the movie which seems to make their relationship an even further oddity. As she walks to the fields she makes friends with a photographer who is traveling through and begins learning to take photographs. Both the film's cinematography and her photos play a large role. Lena tends to be quiet, walking and taking pictures as she has much on her mind. I wish we'd been more privy to what was weighing so heavily on her.
The last thirty minutes or so give the movie the emotional thrust it sorely needed. While this was a beautiful, quiet movie, it could have been more meaningful if only the director had stirred the calm surface with the emotions running beneath.
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Dong Ju: The Portrait of a Poet is an eloquent story woven around the poet's own insightful words. Shot in black and white, the monochrome film beautifully fits the quiet, intense mood of the short lives of these two young men.
I will leave the historical aspect of this film to those who have a personal stake in it or are more well versed in it than I am.
This film is as much about Yun Dong Ju's cousin and revolutionary, Song Mong Gyu, as it is the poet. Their lives are intertwined, two different ideals in how to resist during a time of hated occupation. One willing to use a gun, the other a pen though at times those lines blur. Their friendship though challenged never waivers.
The story begins and ends with the young men in prison. The present takes place during Yun's interrogation by the Japanese. As Yun is questioned, the past is revealed to show the steps they took to end up in prison. Quoting Yun's poetry to the corresponding events paints the conflicted feelings he had over his role during the dark times and his attempt to find hope in the moment. The tripod of present, past and poetry is perfectly balanced.
Kang Ha Neul gives a restrained and poignant performance as Yun's younger self and later as the tortured prisoner knowing death is imminent, reflecting on his actions and inactions. All the performances are good but his stood out as the titular character.
Dong Ju is an elegantly filmed story of an inelegant and agonizing time told through the courage, defiance and beauty of poetry and a poet.
Prelude
Wishing not to have
so much as a speck of shame
toward heaven until the day I die,
I suffered, even when the wind stirred the leaves.
With my heart singing to the stars,
I shall love all things that are dying.
And I must walk the road
that has been given to me.
Tonight, again, the stars are
brushed by the wind.
-Yun Dong Ju
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The cinematography is dark and melancholic, reflecting the mood of anger, guilt, sadness, and regret. The score embraces those same feelings.
JDY gives a good performance as the angry son, Zhen Chen, who travels from China to South Korea to find his mother due to his dying father's wish. What he finds only deepens his anger and resentment. Lee's mother shows restrained emotions, a woman who has long dealt with sacrifice and hardships. The story deepens when a disappointed Zhen Chen on the return trip home finds the diary his mother left him and her long buried secrets and his are slowly revealed.
The film dips into the overly dramatic waters on occasions, but never completely sinks into them. Though not for everyone, and not a perfect movie, I found the struggles of this mother and son compelling.
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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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Qiao Yan is a successful actress with an overly clingy manager. She’s rigidly unhappy and desperately seeking her freedom from the life she’s living. Her manager has other plans for her future and is unwilling to take no for an answer. Into this abyss her pregnant sister from Myanmar walks in. Her sister is looking for her deadbeat husband who is trying to escape his gambling debts. Due to Qiao’s secret slipping out, a long list of people line up to extort an exorbitant amount of money from her. Qiao will have to decide how far she’s willing to go to protect herself.
The characters were thinly and inconsistently written. The old, “if I’d had the opportunities you had, I’d be a famous actress and wealthy instead of you,” trope was used because yeah, life just works that way. Anyone can become rich and famous. That petulant phrase was overused. The older sister’s emotions and ethics swung back and forth like a pendulum. Her husband was utterly vile and made me wonder why she stayed with him.
What actually intrigued me about this film was that the entertainment industry was shown to be a patriarchal, capitalistic den of iniquity where wealthy men thought they owned the talent and could do what they wanted with them. I’d heard rumors about this type of behavior for years, just never thought I’d see a Chinese movie airing that dirty laundry. (I write this knowing Hollywood has had its issues, too. It’s always a problem when people hold unchecked power.) They also showed the negative side of the “one child” rule. Another shocker.
The story itself was uneven and dragged on too long. The actors did the best they could with the material. The movie Qiao was shooting gave Zhao Li Ying more of a chance to shine than the actual movie she was in. The Unseen Sister was watchable, but could have been better.
20 August 2025
Triggers: Lots of smoking if that bothers you
Attempted Sexual Assault
Dismembered finger
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"Only the cloud knows the feather"
Spies, assassins, poison, sword fights, and a struggle for the leadership of one of the last sects not under the thumb of the evil Wufeng sect, My Journey to You attempted to cover a lot of ground. Populated with beautiful people and costumes, this drama was sometimes more stunning to look at than compelling.What drew me to this drama was the promise of not one, but at least two female “assassins”. This felt like a bad translation, as they were more spies than killers. Yun Wei Shan had real possibilities for a dark and intriguing character. Once the Gong male characters were introduced, it often felt like the Wufeng spies had little to do other than talking in whispered tones. When a double tragedy left the underachiever, Gong Zi Yu, as the only choice for Sword Wielder, I had to agree with the snide Gong Shang Jue. Zi Yu was pitifully unprepared for such a task. Of course, it was difficult to side with Shang Jue and his “brother” Yuan Zhi, as they could be insufferably contemptuous. Much of the drama focused on Zi Yu’s trials in the Three Realms of the Back Hill with some assistance from Yun. Shang Jue had his own undercover bridal spy to deal with as well.
At the beginning I was completely engaged with this drama. Then it began to rinse, lather, repeat for me one too many times. Zi Yu and Shang Jue kept being hauled before the elders where they could accuse the other of causing problems. At this point I felt like neither one deserved to be the Sword Wielder. The Back Hill provided some interesting characters and trials when the two Gongs weren’t arguing over who was prettiest. There were multiple attempts at humor, usually involving the overly dramatic and over acted role of Gong Zi Shang and her crush on Zi Yu’s bodyguard, Jin Fan. Which brings up the point, this was the martial world and only the “bad” girls knew martial arts. The Gong women all seemed to be rather defenseless. To quote Eowyn from LOTR: TT, “Those without swords can still die upon them.” The oldest surviving Chinese wuxia starred a woman! I was disappointed by the lack of Gong women wielding swords.
The beginning was strong and I enjoyed some of the middle until it became bogged down in recrimination after recrimination. The last part with the fights that had real consequences was more engaging. Then the big “twist” was almost a movie length of exposition. “I suppose you all wondered why I gathered you here today…” The acting varied from adequate to excellent. This drama should help Ryan Cheng graduate from web dramas for good. I also quite enjoyed Wen Zheng Rong’s performance as Lady Wu Ji. She was able to go from calculating to maternal in the blink of an eye.
Overall, I found this to be an entertaining and binge-worthy, if flawed, drama. Had it not been for my least favorite ending-the open end, I would have bumped it up to at least an 8. Maybe there will be a S2, maybe there won’t. If they develop a compelling S2 that coincides with this story well, I’ll revisit my rating. Even with the disappointing ending, this was a journey worth making.
1 July 2024
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Flawed drama about flawed and broken people
The Trunk was filled with deeply flawed and wounded people. No one walked away looking like a hero by the time it was all over. There were many moments of frustration over truly idiotic decisions and the never welcome noble idiocy. Through it all Gong Yoo showed why he is a top actor regardless of country.Han Jeong Won cannot get over his ex-wife, Lee Seo Yeon, and takes the pills she supplies to sleep and get through the day. In order to maintain any contact with her he has to agree to a 1 year contract marriage to Noh In Ji. Lee married a younger man, Ji O, and uses him like a Boy Toy. Jeong Won and In Ji tie the knot by signing a contract which is stored in her designer trunk. The trunk and a dead body are later found with the police investigating this damaged group of people.
When a drama or movie bounces back and forth repeatedly in time, it’s usually a clue that the story isn’t that deep but the writers want to make it appear to be mysterious. Such was the case with this drama.
The story itself dragged most of the characters over the coals of desire and despair. Han made a terrible decision during a moment of anger and desperation. In Ji seemed to see what Han could not, yet made numerous idiotic decisions. Lee had a right to be angry even though she created a deadly situation, yet decided to punish Han into self-destruction. Not exactly the most likeable lot, yet Jeong Won and In Ji slowly dragged their way toward atonement. I was disappointed that a few of the familial elements were never cleared up.
The Trunk was stylishly shot and had a beautiful OST. Some of the acting was exemplary while some of it was perfunctory. The scattershot approach to storytelling was confusing at first but by the fourth episode was clearly laid out. Han’s mansion resembled a fun house with mirrored scenes and wild swirling circles and lines. The cold, severe decorating scheme would be enough to cause isolation issues. Shortcomings in stalking laws were brought up as well as a tyrannical view of bisexuality and terrible invasion of privacy and internet laws. For me, the only thing that held it together and made it worthwhile viewing was seeing Gong Yoo once again in a starring role even if his character was often shoved to the side. This was closer to a 7.5 drama but the cinematography, music, and GY’s acting bumped it up to an inflated 8 for me. Welcome back, Gong Yoo, don't stay away so long next time!
29 November 2024
Triggers: Sexual content and nudity. One gratuitous scene and other more “artistic” ones and two shower scenes that go lower than Kdramas.
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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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