The filmmaker Hirokazu Koreeda has been turning out warmly-received films since his fiction feature debut Maborosi in 1995. Many of them — certainly, it seems, all of the most acclaimed — are warm-hearted family dramas, whether dealing with children directly as in I Wish (2011), with parents of kids in Like Father, Like Son (2013) or with young people in Our Little Sister (2015). However in many ways that’s only half his output, as he’s also made plenty of films that don’t fit quite so neatly into this framework. I was planning on writing a post about maybe one of these, but then I realised I had a vast cache of reviews of films that really aren’t very well known by this famous director, and I wonder how many great directors could have made great films if they’d been given as many chances. For one example not even covered here, there’s his latest English/French-language The Truth (to be reviewed here later this week), but there are also these four films reviewed below: a film about terrorists; a period drama; a sex drama; and a legal thriller.
Continue reading “Four Underappreciated Films by Hirokazu Koreeda: Distance (2001), Hana (2006), Air Doll (2009) and The Third Murder (2017)” →
Hou Hsiao-hsien remains probably Taiwan’s most famous filmmaker, though his films can be rather forbidding to casual viewers in their austerity (beautiful though they undoubtedly often are). He made his masterpiece in 1989 with A City of Sadness, but followed it with further important works, culminating with this period film, made close to the turn of the millennium (albeit restored to its original glory in the last year), but harking back a hundred years earlier on the mainland. His later work started to move towards more European collaborations, and sometimes settings, though still with his delicate style and sensibility.
I first saw this 20 years ago on its initial release, and it is still both bewitching and perplexing in equal measure. The film never leaves these interior settings, the chambers of various courtesans around Shanghai, but the camera glides around, moving first left and then right to take in the characters sitting in repose, gambling or smoking opium. There’s an almost constant drinking of tea and smoking of pipes and the word I have written in my notes most often, underlined at one point, is “languid”. This is a film that slips by, the emotions of the women trapped in this life, almost imperceptible and yet clearly fierce. Aside from the iconic face of Tony Leung Chiu-wai, most of these characters and their stories tend to slide into one another, and what you recall are the rooms, the noise, the quiet repetitive musical theme, and, yes, the languid atmosphere.
Director Hou Hsiao-hsien 侯孝賢; Writer Chu T’ien-wen 朱天文; Cinematographer Mark Lee Ping-bing 李屏賓; Starring Tony Leung Chiu-wai 梁朝偉, Michiko Hada 羽田美智子, Vicky Wei 魏筱惠, Carina Lau 刘嘉玲; Length 130 minutes.
Seen at Cinema Arlecchino, Bologna, Thursday 27 June 2019 (and originally at the Embassy, Wellington, Tuesday 27 July 1999).
There’s a lot of stuff you can latch onto in this film, but yet it feels so difficult to pin down or talk about because it is so fraught. It’s about people being evasive, who don’t want to be seen to be doing the wrong thing and who, at a certain level, live their lives within the frame the narrative creates for them and the camera allows them — I’m not sure if they can exist beyond these 90-something minutes and I’m not sure if I want them to. Anyway I’m being a bit vague because I can’t really pin down how I feel but when I first saw this 16 years ago I wasn’t married, and who knows what it’ll be like in another 16, but I’m fairly sure I’ll still love it, and maybe I’ll even have a deeper sense of it. In any case, Wong is clearly infatuated with Godard but luckily that doesn’t determine the course of the film: this is very much its own thing. Doomed romance, that yearning soundtrack, Maggie Cheung’s high-necked cheongsam dresses, the rain, the endless food being dished up, the smoke, the empty corridors. All of it.
Criterion Extras: There’s a short film called Huayang de Nianhua made up of archival clips, beguiling images of old (and to me, unknown) Chinese actresses, like a hint at what Wong was thinking about while making his feature.
FILM REVIEW: Criterion Collection
Director/Writer Wong Kar-wai 王家衛; Cinematographers Christopher Doyle and Mark Lee Ping-Bin 李屏賓; Starring Maggie Cheung 張曼玉, Tony Leung 梁朝偉; Length 98 minutes.
Seen at Embassy, Wellington, Tuesday 24 July 2001 (and most recently on DVD at a friend’s home, London, Sunday 5 March 2017).
Hou Hsiao-Hsien makes slow films. I’m still fairly certain that the most walk-outs I’ve ever experienced from a film screening was when I went to see his magisterial Flowers of Shanghai (1998) when it screened for the first time at my local film festival (about half the audience left, and that’s a festival crowd). He returns to a Chinese period setting with his latest film (this time it’s the 8th century Tang Dynasty), so I’m not surprised to hear people criticise it for a certain coolness to its narrative exposition. For my own part, the period setting strikes me in the same way as, say, Shakespeare plays do: I’m not always exactly sure the historical importance of each of the characters, but I get the gist of what’s going on. Shu Qi plays the titular figure of Nie Yinniang, who is instructed by the nun who raised her to assassinate a corrupt government minister, Tian Ji’an (Chang Chen), but she finds it difficult to complete the mission when it transpires he is a cousin and former betrothed of hers. These are the broad brush strokes, but Hou fills in the rest with his cinematographer Mark Lee Ping Bin, using a gorgeous colour palette and elaborate costumes. Yinniang is often filmed through veils and obstructed by trees in outdoor settings, lurking in the background as Tian and his wife (Yun Zhou) hold court. I confess I probably need to see this film again to properly appreciate its artistry, but on a first viewing it certainly doesn’t disappoint. Unless, that is, one goes in hoping for a more action-packed genre-inflected wuxia.
Director Hou Hsiao-Hsien 侯孝賢; Writers Hou, Chu T’ien-wen 朱天文, Hsieh Hai-Meng 謝海盟 and Zhong Acheng 鍾阿城; Cinematographer Mark Lee Ping Bin 李屏賓; Starring Shu Qi 舒淇, Chen Chang 張震, Yun Zhou 周韻; Length 105 minutes.
Seen at ICA, London, Tuesday 26 January 2016.
The BFI have been doing sterling work this past month putting on a retrospective of the works of Taiwanese director Hou Hsiao-hsien, so I took a chance to see this key early film of his. It bears many of the hallmarks of his mature directorial work, particularly his great masterpiece A City of Sadness (1989). Both films deal with the tumultuous political events affecting China’s relationship to Taiwan during the mid-20th century, refracting it through one family, though this earlier film is perhaps more attentive to the domestic drama. Undoubtedly there’s plenty happening behind the scenes, though its political commentary is more subtly done. It’s primarily a coming of age story dealing with Ah-ha (or Ah-hsiao, a stand-in for the filmmaker, played by Yu An-shun as he gets older), though the most dynamic presence within the family is the grandmother (Tang Ju-yun). She is convinced the family will be returning soon to the mainland, as evoked by the cheap wicker furniture the family have for their home, as they had always assumed their relocation would be temporary. It spans a couple of decades, as family members grow older and die, and deals in an almost deceptively calm way with the passage of time and of youth, as Ah-ha moves from studious child to rebellious teen.
Director Hou Hsiao-hsien 侯孝賢; Writers Chu T’ien-wen 朱天文 and Hou; Cinematographer Mark Lee Ping-bin 李屏賓; Starring Yu An-shun 游安順, Tang Ju-yun 唐如韞; Length 138 minutes.
Seen at BFI Southbank (NFT2), London, Friday 18 September 2015.