Hero, a film once again by Zhang Yimou, was significantly more enjoyable than the previous film viewed. The story, which features long, choreographed kung-fu fight scenes, centers on an assassin name Nameless and his exploits with the three other assassins (Snow, Sky, and Broken Sword) who have been hired to kill the King of Qin. Although at times there seem to be more fight scenes than dialogue or story, the fight scenes and many other portions of the film are mainly highlighted by color.
Color is used for tonal purposes in the film. The main character, Nameless, always is scene dressed in black (outside of when he appears at the Calligraphy school decked out in traditional red garb). Other characters, mainly Snow and Broken Sword’s are scene in many different colors based off the situation around them. For instance, in Nameless’s initial telling of his story all the characters appear in red. The connotations of this red are two fold- one is anger and one is passion. The anger and the vision of blood it brings with it is highlighted by the onslaught of arrows brought on by the Qin army. The passion comes in the form of Broken Sword’s love making to Moon, his servant, and his love of Snow. Throughout the film, bright red reappears (especially during fight scenes) in connotations of blood and anger. Blue, when it appears, seems to indicate a more subservient status of the characters that wear it. Green, when it appears in the scene recounting Broken Sword’s fight with the King of Qin, seem to indicate (as it often does) an amorphous dream- one of the uniting of China.
Hero presents an interesting, yet still artistic view of a Chinese legend. Through its impeccable use of color and non-linear story line, the film engages the audience in a vivid cinematic experience.
Monday, April 14, 2008
Thursday, April 10, 2008
Not One Less, China
Zhang Yimou’s Not One Less is an unentertaining film concerned with the economic, social, and moral status of China. In the film, the main character, Wei, comes to a remote village as a thirteen-year-old substitute teacher, working towards gaining as much money (50-60 Yuan) as possible. When she takes over for the old teacher, she is promised an extra ten Yuan if everybody still remains when he returns. Of course, two students promptly leave for different reasons, and the rest of the story centers on Wei’s quest to return Zhang Huike to the village.
This part of the plot concerning Wei’s quest, highlights the moral, social, and economic differences between urban and rural life in China. One such criticism comes in the form of the manner in which Wei is treated as a character and portrayed in the film. Wei lives on the street and in the bus station (without visible anguish for these actions) while in the city. She is often shown alone, and being treated as just another person. While in the village, though, Wei is almost always surrounded by people, and is treated warmly, however cold she treats other people. From these two different depictions, comes the commentary on moral, social, and economic differences. The city, the symbol of modernity, can almost be seen as another character in the story, perhaps the true antagonist. The village, though, represents a refuge for Wei in the context of the film. Modernity is seen in a negative light in this film, while the country life is seen more positively.
Not One Less, although not particularly entertaining, does show this global theme. This theme can be found in many conservative texts across film, literature, and other art. Due to that, this film is a global one, just not one that has particularly global appeal.
This part of the plot concerning Wei’s quest, highlights the moral, social, and economic differences between urban and rural life in China. One such criticism comes in the form of the manner in which Wei is treated as a character and portrayed in the film. Wei lives on the street and in the bus station (without visible anguish for these actions) while in the city. She is often shown alone, and being treated as just another person. While in the village, though, Wei is almost always surrounded by people, and is treated warmly, however cold she treats other people. From these two different depictions, comes the commentary on moral, social, and economic differences. The city, the symbol of modernity, can almost be seen as another character in the story, perhaps the true antagonist. The village, though, represents a refuge for Wei in the context of the film. Modernity is seen in a negative light in this film, while the country life is seen more positively.
Not One Less, although not particularly entertaining, does show this global theme. This theme can be found in many conservative texts across film, literature, and other art. Due to that, this film is a global one, just not one that has particularly global appeal.
Thursday, April 3, 2008
Swades, India
Swades, a film about Indian traditions, cultures, and heritage in the face globalization revolves around the main character, Mohan’s, realization of his own history. In this film by Ashutosh Gowariker, Mohan, a NASA engineer, returns to India to locate his beloved Kaveriamma, who was his nanny and like a mother to him. In the process he meets an old childhood friend, Gita (jokingly referred to as Gitli), and an assortment of other characters from the remote village of Charanpur. As the film progresses, Mohan becomes more and more engaged in village life, helping to construct infrastructure as well as influence village politics, but still in continual communication with the West (often asking for more time off). By the end of the film, the happy ending the audience has been waiting for comes, and Mohan returns to India to become part of the culture he left behind.
The central theme in the film is that of returning to one’s heritage, since no matter where somebody moves, they are born with some notion of a cultural background. The film does not hide this theme behind vague symbolism or excessive special effects. Rather, the film tends to feature this film prominently by Mohan’s transformation as well as the behavior of all the characters’ around him, who are stubborn to Mohan’s suggestions. In the end, there is compromise as somewhat of a “melting pot” (ironic for a film that mildly criticizes America) between Mohan’s technology and progressivism and the slow, traditional life of the village combine.
Swades aptly presents its message without trying to hide it in vague cultural references or heavy literary techniques. Rather, the simplicity of the film makes it a more enjoyable viewing experience, and the message a universal one that people can adapt for their own lives.
The central theme in the film is that of returning to one’s heritage, since no matter where somebody moves, they are born with some notion of a cultural background. The film does not hide this theme behind vague symbolism or excessive special effects. Rather, the film tends to feature this film prominently by Mohan’s transformation as well as the behavior of all the characters’ around him, who are stubborn to Mohan’s suggestions. In the end, there is compromise as somewhat of a “melting pot” (ironic for a film that mildly criticizes America) between Mohan’s technology and progressivism and the slow, traditional life of the village combine.
Swades aptly presents its message without trying to hide it in vague cultural references or heavy literary techniques. Rather, the simplicity of the film makes it a more enjoyable viewing experience, and the message a universal one that people can adapt for their own lives.
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