This is a multidimensional story. To see it simply as the story of a boy coming of age misses other dimensions. I did not try to identify with the boy, but rather one of the nameless, faceless townsmen living in those times under a dictatorial regime. The gossiping, backstabbing, diminution of human courage and decency reminds one of other trying times such as Nazi Germany or Poland or the Cultural Revolution in China. That said, the story would have been more mature had more time been devoted to developing the 'little people' characters and less on the amorous fantasies of Ranata. Given all the ultrahyped commercial crap that infiltrates like cancer, I lived through this one pretty easily.
Reviews
6 Reviews
A catch 22 ...
3 February 2001
This one is a catch 22. To truly appreciate ancient martial arts
movies, one has to have grown up reading Wuxia novels and
watching martial arts movies. However, such an individual (myself
included) may find CTHD to be mediocre at best, exactly because
of the Wuxia novel experience. Top that with someone who had
seen Ang Lee's other films, this one was, to say the least, a bit of a
disappointment. Casting Chow and Yeoh was, to me, unfortunate.
I was cringing in my seat when I saw them struggle with their
Mandarin dialogues (they are both Cantonese speaking). It really
took a big chunk out of their ability to act. Yeoh was not acting -
she was just reciting the script. The same thing happened to
Chow in Anna and the King when he was trying to speak Siamese
and English. There is a stark contrast between Chow and Yeoh
and the Mandarin speaking cast (eg. Sir Te - the actor who was in
almost all of Ang Lee's earlier films; Jen - played by Zhang from
Beijing); the latter is simply a lot more relaxed and comfortable
and are really acting.
The story follows a pervasive theme in Wuxia novels - once
becoming part of Guang Hu (the martial art world, somewhat akin
to cops and gangsters in today's world), one has no control over
ones destiny. Again, the script and Ang Lee failed to develop
more complex characters that accentuate the internal conflict and
helplessness experienced by members of 'Guang Hu'.
No doubt the scenery is beautiful. It's actually the least of Ang
Lee's challenges to come up with such breathtaking locations in
China, a land abound with geographic beauty.
Overall, not a bad movie, but definitely (shamefully) over-hyped. I
might have enjoyed it more if I could watch it without my experience
with Wuxia novels and movies.
movies, one has to have grown up reading Wuxia novels and
watching martial arts movies. However, such an individual (myself
included) may find CTHD to be mediocre at best, exactly because
of the Wuxia novel experience. Top that with someone who had
seen Ang Lee's other films, this one was, to say the least, a bit of a
disappointment. Casting Chow and Yeoh was, to me, unfortunate.
I was cringing in my seat when I saw them struggle with their
Mandarin dialogues (they are both Cantonese speaking). It really
took a big chunk out of their ability to act. Yeoh was not acting -
she was just reciting the script. The same thing happened to
Chow in Anna and the King when he was trying to speak Siamese
and English. There is a stark contrast between Chow and Yeoh
and the Mandarin speaking cast (eg. Sir Te - the actor who was in
almost all of Ang Lee's earlier films; Jen - played by Zhang from
Beijing); the latter is simply a lot more relaxed and comfortable
and are really acting.
The story follows a pervasive theme in Wuxia novels - once
becoming part of Guang Hu (the martial art world, somewhat akin
to cops and gangsters in today's world), one has no control over
ones destiny. Again, the script and Ang Lee failed to develop
more complex characters that accentuate the internal conflict and
helplessness experienced by members of 'Guang Hu'.
No doubt the scenery is beautiful. It's actually the least of Ang
Lee's challenges to come up with such breathtaking locations in
China, a land abound with geographic beauty.
Overall, not a bad movie, but definitely (shamefully) over-hyped. I
might have enjoyed it more if I could watch it without my experience
with Wuxia novels and movies.
Where the Heart Is
(2000)
Where is the brain?
30 September 2000
I watched this one on tape last night with my wife, who is definitely a 'chick flick' person, and we both disliked it. The story is so unreal that it's insulting. I wonder what all the hard struggling single parents who saw this film thought about it. Nobody seemed to have to worry about putting bread on the table in this movie, and, according to it, finding Mr. Right is the purpose of a woman's existence. The harder Portman and Judd tried to act, the more it showed their lack of talent. Portman's fake southern accent sounded like finger nails scratching on a chalkboard, as did Judd's crying. Being the pig that I am, I like sweet Natalie, but my prediction is that she'll become Brooke Shields II - pretty face, no talent, lots of hype. I truly hope I'm wrong.
Xiu Xiu: The Sent-Down Girl
(1998)
Could have been better
24 September 2000
The story had great potential, yet it was ruined by weak story telling and film directing. Given the length of the movie, there was a lot of room for developing the story, yet much was wasted on trying (unsuccessfully) to create an atmosphere of desperation. A common problem with films that try to weave personal stories into social commentary is that the director ends up failing to do either. Directors such as Zhang Yimou have mastered the skill, but they are a rarity. Despite focusing almost entirely on Xiu Xiu and Lao Jin, expression of the emotional link between the two was weak. This focus also came at the price of not using ancillary characters (people in the headquarters) to fortify the sense of helplessness and hopelessness. The end product was a weird, unnatural ambiguity that left me emotionally unsatisfied. It was a good attempt by Joan Chen, only a little too ambitious. I think it would benefit her to direct some straight forward narrative movies to hone her skills before embarking on anything abstract.
Romeo Must Die
(2000)
What a waste of Li's talent!!
29 March 2000
As a long time Jet Li fan, I felt a knot in my stomach the whole time I was watching this movie. Man, what a let down, and what a waste of Li's talent. This man can do SERIOUS Wushu, not just movies, but the real stuff. He is a bona fide, trained Wushu master! The CGI made him look so ridiculous! Since this is a Kung-Fu flick, I am not too critical on the plot. I think the story had some potential, however, the screenplay could have been a lot better, creating more tension and intensity as the story developed.
The Red Violin
(1998)
A great antidote for my POS (Post-Oscar Syndrome)
28 March 2000
I watched this movie on tape last night, and I found it a great antidote for my post-Oscar anger, frustration and cynicism.
To appreciate the beauty of this gem, one needs to see it as a tale, a fable. It is a simple yet powerful story about love, passion and music, all priceless in the eyes of the beholder. Nicolo made the violin out of deep love for his wife and child. Little Kaspar, himself loved by Maestro Poussin, develops an unbreakable bond with the Red Violin. In the hands of Frederick the virtuoso, it becomes the instrument he has chosen to express both his love and passion for Victoria. Even in times as testing as the Cultural Revolution in China, love delivers it from peril. To the earthly and uninitiated (the Gypsies, the pawnbroker, Ruselsky), the violin is nothing more than a toy, a commodity, and a trophy. In the end, the Red Violin found its way back to how it all began - as a token of love.
To appreciate the beauty of this gem, one needs to see it as a tale, a fable. It is a simple yet powerful story about love, passion and music, all priceless in the eyes of the beholder. Nicolo made the violin out of deep love for his wife and child. Little Kaspar, himself loved by Maestro Poussin, develops an unbreakable bond with the Red Violin. In the hands of Frederick the virtuoso, it becomes the instrument he has chosen to express both his love and passion for Victoria. Even in times as testing as the Cultural Revolution in China, love delivers it from peril. To the earthly and uninitiated (the Gypsies, the pawnbroker, Ruselsky), the violin is nothing more than a toy, a commodity, and a trophy. In the end, the Red Violin found its way back to how it all began - as a token of love.
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