A Time to Live, a Time to Die (1985)
"Tong nien wang shi" (original title)

This depiction of childhood and adolescence draws heavily from the filmmaker's own boyhood. Like many of their compatriots, Hou's family moved from the mainland to Taiwan in 1948 and was ... See full summary »

Directors:

Hsiao-hsien Hou, Jia-hua Lao,

Writers:

T'ien-wen Chu, Hsiao-hsien Hou

Stars:

Chia-bao Chang, Neng Chang, Chih-chen Chen

6 wins.

Cast

Credited cast:
Chia-bao Chang
Neng Chang
Chih-chen Chen
Han-wen Chen
Shu-fang Chen
Bao-te Chiang
Tung-hung Chou
Ai Hsiao
Shu-fen Hsin
Hsiang-ping Hu
Tung-lai Kao
Chung-wen Lin
Kuo-bao Liu
Cheng-ye Lo
Shun-lin Lo

Storyline

This depiction of childhood and adolescence draws heavily from the filmmaker's own boyhood. Like many of their compatriots, Hou's family moved from the mainland to Taiwan in 1948 and was unable ever to return. The film focuses on the widening generation gap in a family cut off from its cultural heritage.

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Plot Keywords:

coming of age | teen | historical event

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Genres:

Biography | Drama

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Details

Official Sites:

International Film Circuit

Country:

Taiwan

Language:

Mandarin Min Nan

Release Date:

1988 (USA)

Also Known As:

A Time to Live and a Time to Die

Filming Locations:

Taiwan

Company Credits

Production Co:

Central Motion Pictures Corporation, Yi Fu Films

Technical Specs

Runtime:

138 min 138 min (Buenos Aires Festival Internacional de Cine Independiente)

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

This film is inspired by screenwriter-turned-director Hou Hsiao-Hsien's coming-of-age story. It is the second installment of Hou Hsiao-Hsien's "Coming-of-Age Trilogy" that features three prominent Taiwanese screenwriters' coming-of-age stories - the other two are _My Summer at Grandpa's (1984)_ (inspired by the childhood memories of Chu Tien-Wen) and _Dust in the Wind (1986)_ (inspired by the coming-of-age story of Wu Nien-Jen).

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Connections

Featured in Yang ± Yin: Gender in Chinese Cinema (1998)

User Reviews

Images of extraordinary power and beauty

Seeking a better life, a teacher brings his family from Mei County in the Kwangtung Province of mainland China to Fengshan in the south of Taiwan in 1947. As a result of the Communist takeover on the mainland, the family is forced to remain in Taiwan, estranged from their traditional home and culture. The Time to Live and The Time to Die, a semi-autobiographical film by Taiwanese director Hou Hsiao-Hsien, is a compassionate story of a family's struggle to adapt to living in a new society. Loosely based on the childhood memories of Taiwanese director Hou Hsiao-Hsien who came to Taiwan in 1948, the film chronicles the passing of the older generation and the emergence of the new. The director narrates the film from the point of view of the youngest son, Ah-Hsiao (You Anshun), called Ah-ha by his grandmother (Tang Yu-Yuen).

The Time to Live is shot in a reflective style that allows an intimacy with the material. In the first half, the family learns to adjust to their new environment: the children play outside, the family eats dinner together and engage in small family rituals. Hou is observant of the political and technological changes taking place in the background, noting, for example, the increasing number of cars and motorcycles on the streets, the installation of electricity in their home, the improving medical treatment that the parents receive, and a letter from an aunt revealing the Great Leap Forward in China. What doesn't change, however, is the continued second class status of women, depicted in a scene where the mother lectures the daughters about their responsibilities for housework and how it must come before an education.

As the family gets older, the longing for their homeland increases. On several occasions, the old grandmother becomes disoriented and asks shopkeepers for directions to the Mekong Bridge (in China). When she gets lost, she has to be returned home via taxicab. The second half of the film painfully shows the loss of parental guidance and the disintegration of the family. As illness sets in, the parent's pain and slow disintegration takes place directly in front of the camera, not in the background. Ah Hsiao and his siblings stoically endure the loss of both parents, but their growing involvement in delinquency and petty crime underscores the loss of structure in their lives.

This is Hou's most personal film and one that is filled with images of extraordinary power. I was moved to see Ah Hsiao face when he sees death for the first time while walking into the room containing his father's body, and when the family shares loving recollections of the father soon after his death. Backed by a lyrical soundtrack, the street scenes and images of family life convey a rare authenticity and visual poetry. As in the film "Pather Panchali" by Satyajit Ray, the tiny village in Taiwan becomes a microcosm of the outside world. Like Ray's masterpiece, it is a sad film, yet, in its celebration of the wonder of life and the strength of the human spirit, it is also triumphant. The Time to Live and the Time to Die is not only a loving tribute of one son to his family but a testament to the strength of all families.