You've heard the saying: "well, that's 82 minutes of my life I'll never get back". After watching Goodbye, Dragon Inn, I thought, "well, that's 182 minutes out of my life I'll never get back". Except Goodbye, Dragon Inn is only 82 minutes long. But it was so excruciating, I felt like I'd lost three hours of my life. #284 on the They Shoot Pictures, Don't They list of the top 1000 films of all time, #16 on the list of the top 1000 films of the 21st century. Perhaps the weirdest example of how unconnected I was to this movie: apparently some people think it's a comedy. My favorite bit of trivia about the film: director Tsai Ming-liang has twice voted for it on the director's poll for the Sight and Sound 10 greatest films of all time list.
[This is the nineteenth in a series that will probably be VERY intermittent, if I remember to post at all. I've long known that while I have given my share of 10-out-of-10 ratings for movies over the years, in almost every case, those movies are fairly old. So I got this idea to go back and revisit movies of relatively recent vintage that I gave a rating of 9, to see if time and perspective convinced me to bump that rating up to 10.]
In 2008, I wrote about Red Cliff, "John Woo returns to China, makes two-part historical epic, regains his Mojo. I haven't had time to really think about this movie yet ... what it 'means.' But it's a marvelous thing to watch, with some fascinating battle scenes." More to the point, I wrote the following about Red Cliff II the next year:
There are two essential items going on here, the strategy preparing for battle, and the battle itself (as I recall, it was much the same in Part One). I’m not a fan of “war strategy” movies, but this stuff is fascinating. It takes place in the early 3rd century, so the weapons aren’t very advanced. But they are put to ingenious uses, and the overall strategies on both sides are interesting mostly because of the point/counterpoint feel. The leaders on both sides know how war is “supposed” to be fought, and there’s a bit of game theory going on, as first one side and then another attempts to figure out how the other will vary from the norm, so that they can themselves vary in a useful manner. The result would please the A-Team’s Hannibal … as you watch in admiration, you think “I love it when a plan comes together.” The final battle sequence is as good as any you’ve seen. The only problem is that we’re getting aesthetic pleasure from the deaths of tens of thousands of people, and while there are brief moments when we’re reminded of the deceased, for the most part our reaction is more “Wow!” than “poor fellow.” This was true in Woo’s HK action films, of course, but the scale here is far beyond that of a movie like Hard Boiled. Still, watching Woo put all the pieces together in such a way that the audience can clearly follow the action mirrors the way the warlords put the pieces of their plans together.
I did indeed rate Red Cliff 9/10, which is why it's in this series. I gave the second film a 10/10, and I'm not sure why I thought it was the better of the two films ... they are equals. In fact, in some ways they are exactly equals: in America, the films were combined into a shorter version (also called Red Cliff), and I'm pretty sure Woo thought of them as two parts of the same movie. I have never seen the shorter version. This time around, I was taken by the acting. I've seen Tony Leung in 12 movies ... I've never given one of his pictures less than 7/10, and I've given my top 10/10 rating to four of them. Chow Yun-Fat was the HK actor who first got my attention, but over the years, I think Tony Leung Chiu-wai may have overtaken him. Heck, he might be my favorite actor of all time from any country. (I re-watched both movies back-to-back over the past two days.)
This week's challenge is to watch a previously unseen film with a runtime equal to or greater than 180 minutes.
I was introduced to King Hu three years ago, during my first Letterboxd challenge, with Come Drink with Me for Wuxia Week ... it was an early example of that genre. A Touch of Zen is probably Hu's most acclaimed work ... it's #346 on the They Shoot Pictures, Don't They list of the top 1000 films of all time. It's an epic that sneaks up on you.
I admit my mind was drifting during the first of the film's three hours. It presented a 14th century isolated mountain village ... we meet various characters, some potential subplots are introduced, but the entire movie at this point is leisurely, with none of the over-the-top "wire fu" I expect from the genre. But Hu knows what he's up to, including disrupting the norms of the genre. Once the action begins, our appreciation is increased because we know some of the characters in depth thanks to that leisurely beginning. Admittedly, I much preferred the latter 2/3 of the film, and my mind quit drifting. I've seen a dozen or so wuxia films over the years, but I am far from an expert, and am mostly impressed by action, since I lack the historical knowledge that would provide some context.
This was the first time I've seen Hsu Feng, who was very good as a beautiful ass-kicker. Her character, Yang, has many levels. We first see her as a potential marriage partner for Gu, a scholar and painter. We learn that she is a fugitive, and over time, we see that she has supreme martial arts skills. She also has a magical ability to instill skills into others ... after she sleeps with Gu, the formerly awkward bumbler becomes a master strategist and something of a martial arts champion himself. I loved her character, and I loved what Feng brought to that character.
Sammo Hung and Jackie Chan are also in the cast in minor roles. Jackie's role was so minor, I never actually spotted him, but Sammo takes part in a couple of battles late in the film. Mostly, their names in the credits are interesting, but this is not a Sammo film, it's a King Hu film starring Hsu Feng, and if you make it past that first hour, you will be rewarded. And it looks gorgeous, besides.
The Assassin (Hou Hsiao-hsien, 2015). This fine film deserves its own post, and originally, it had one, but my computer crashed, and now I'm just working from memory. Suffice to say that this was my first film by Hou Hsiao-hsien, and I'm ready to see more. The cinematography is gorgeous (by Ping Bin Lee), and while there are very few closeups and plenty of long takes, The Assassin is never static. I had seen this film called "Kubrickian", which isn't necessarily a point in its favor for me, but I can see why people make the comparison. Kubrick movies are always beautiful to look at, as well, and he's not afraid of a "slow" movie. The primary reason I found Hou's film superior to anything Kubrick gave us in his last 30 years is that Hou cared about actors. In the case of The Assassin, we are rewarded with many award-winning performances, especially from Shu Qi, who plays the title character with heartbreaking subtlety. She also conveys confidence in the fighting scenes, even though she came to the film untrained in fighting. #87 on the They Shoot Pictures, Don't They list of the top 1000 films of the 21st century.
Geezer Cinema: The Little Things (John Lee Hancock, 2021). Denzel Washington plays a cop with a past, and if you've seen any other films with that description, you've already seen The Little Things. There are a couple of reasons the movie is a bit better than the others. The cast is full of interesting actors (Rami Malek, Jared Leto, Chris Bauer, Terry Kinney, Natalie Morales, Glenn Morshower, Maya Kazan). And while The Little Things deals with a serial killer, Hancock does not turn the killings into something enjoyable for voyeurs. It's not enough to turn this into a great movie, but it helps. Here are the first ten minutes:
The Magnificent Ambersons (Orson Welles, 1942). Watched this again ... earlier review is linked in the title.
This is more of a placeholder than a review. I watched A Brighter Summer Day under less than ideal circumstances, and don't really feel competent to evaluate it yet. It's just under 4 hours long, and I had figured I'd have to at least invent an intermission. But then the Criterion Channel didn't want to work properly in my browser, and by the time I realized that and switched back to the TV, I'd already lost a day. And I was half asleep for that one. So I ended up watching about 90 minutes the first day, 30 minutes the second day, and the rest of the movie on the third day. Since this is a movie that rewards close attention, I was not giving it the respect it deserved.
I had trouble keeping the characters straight. This might have been a result of my fragmented viewing, I can't say. Also, Paul Dano notes on one of the extras that he thinks it would be useful for viewers to first learn a bit about Taiwanese culture (it takes place in a few years around 1960). I was often confused, and I think Dano is right. I'd just read an essay about how spoilers are actually good for you, and it's possible I'd have had an easier time following the film if I already knew what would be happening. (This makes it a good candidate for a second viewing.)
Finally, I was reminded a bit of the great City of God, one of my favorite movies. Like A Brighter Summer Day, City of God deals with youth gangs. But that movie's characters were a lot like the gangsters I was used to from the U.S., in particular Menace II Society. I lacked a deep understand of life in the favelas, but I felt I knew the characters. The young boys in A Brighter Summer Day are connected to American pop culture as well ... the title comes from the lyrics to "Are You Lonesome Tonight?" But they seem to draw their cues from a different place than what I'm used to as an American. City of God was easier for me to connect to, compared to this film.
In the meantime, I must mention the exquisite visual compositions in the film. I've only seen one other movie by Yang, Yi Yi, which I liked but which I confess I don't remember very much about.
Here is a scene I particularly liked, in part because it makes an American pop culture reference you know I'll love: teens are at the movies, and on the soundtrack, you can hear that they are watching Rio Bravo:
Red Cliff was probably my favorite movie of 2008 … only other possibility would be Man on Wire. It took us several months of maybe-perhaps-ok before we finally got around to watching Red Cliff 2, and it looks like John Woo is going to be sitting atop my list again this year. I didn’t say much about the first installment, so I’ll stretch out a bit now. I should note that I haven’t seen the version playing now in American theaters, which edits the two parts down into one movie.
There are two essential items going on here, the strategy preparing for battle, and the battle itself (as I recall, it was much the same in Part One). I’m not a fan of “war strategy” movies, but this stuff is fascinating. It takes place in the early 3rd century, so the weapons aren’t very advanced. But they are put to ingenious uses, and the overall strategies on both sides are interesting mostly because of the point/counterpoint feel. The leaders on both sides know how war is “supposed” to be fought, and there’s a bit of game theory going on, as first one side and then another attempts to figure out how the other will vary from the norm, so that they can themselves vary in a useful manner. The result would please the A-Team’s Hannibal … as you watch in admiration, you think “I love it when a plan comes together.” The final battle sequence is as good as any you’ve seen. The only problem is that we’re getting aesthetic pleasure from the deaths of tens of thousands of people, and while there are brief moments when we’re reminded of the deceased, for the most part our reaction is more “Wow!” than “poor fellow.” This was true in Woo’s HK action films, of course, but the scale here is far beyond that of a movie like Hard Boiled. Still, watching Woo put all the pieces together in such a way that the audience can clearly follow the action mirrors the way the warlords put the pieces of their plans together.
I don’t know enough about the history being told here to say anything with confidence about how close to reality Woo comes, but I don’t know that it matters. I also don’t know how the two films reflect on contemporary China … Woo made his name in Hong Kong, left before the handover, made a gazillion dollars in Hollywood, then returned home to make this remarkable epic that I’m sure says something about how things are today. But Red Cliff and Red Cliff 2 are magnificent, stirring films … they are as inventive as his earlier heroic bloodshed movies, on a much greater scale.