Yi dai zong shi (2013)

Ip Man (or Yip Man), legendary Wing Chun master, was born in a wealthy family in Foshan, China in 1893. Having trained his art since he was 13 years old, Ip Man developed his Wing Chun technique to a high level of perfection, but while he did teach his style to friend, he wasn't interested in opening a martial arts school. This changed with the Chinese Civil War, when political reasons forced Ip Man to leave Foshan for good in 1949 and settle in Hong Kong. Living in poverty, Ip Man finally opened a Wing Chun school in Hong Kong (his students would include a very young Bruce Lee), that soon made his martial arts famous in the city, and later in the world. This status as grandmaster of Wing Chun, along the time period he lived through, have turned Ip Man into an almost mythical figure (similar to Wong Fei-hung), and his life has inspired numerous films beginning with "Yip Man" in 2008 (directed by Wilson Yip). That very same year Hongkonger director Wong Kar-wai announced his own film about Ip Man, but the project faced constant delays and couldn't see the light until 2013, when finally "Yi dai zong chi", "The Grandmaster" was released,.

The story in "Yi dai zong chi" begins in the first years of the decade of 1930s, when Ip Man (Tony Leung) is living a peaceful life in Foshan as a respected martial artist along his wife Zhang Yongcheng (Song Hye-kyo). The grandmaster of the Northern region, Gong Yutian (Wang Qingxiang) arrives to Foshan announcing his retirement and the appointment of Ma San (Zhang Jin) as his heir. He is also looking for a heir in the Southern region: whomever can defeat him will be his heir. The Southern masters asks Ip Man to represent them, and he manages to defeat Gong Yutian, who now respects him as the winner. Gong Yutian's daughter, Gong Er (Zhang Ziyi), decides to challenge Ip Man herself, as she pretends to recover her family's honor. After their duel, a deep friendship begins between them, a relationship that's interrupted by the outbreak of the Second Sino-Japanese War. During the war, Ip Man will face poverty and hunger in Foshan, while in the Northern region, a vindictive Ma San murders grandmaster Gong Yutian. As times are changing in Chine, a generation of masters of martial arts will try to survive.

While "Yi dai zong shi" begins apparently as a biopic of Wing Chun master Ip Man, the literal translation of its title, "Generation of master", is perhaps the best description of what it really is: a meditation about a whole generation in Chinese martial arts history. So, taking Ip Man as its starting point, the screenplay (written by Zou Jingzhi, Xu Haofeng and director Wong Kar-wai himself) gets into reflections of a more philosophical type regarding the Chinese Civil War, making a parallel with the expansion of martial arts through the country. Grandmaster Gong Yutian's dream of unification between Northern schools of martial arts and the Southern masters ends when political forces divide the country in the middle of wars, events that will divide the characters and force them to make decisions they may later regret. And this melancholic lament of regret, a lament of tragic loss (familiar themes in much of Wong Kar-wai's cinema) echoes through a story in which knowledge of martial arts is a precious heritage, and its perpetuity in memory, a matter of life and death.

In terms of style the film is also a journey through familiar terrains for Wong Kar-wai: there's poetry in the dialogs, an extremely beautiful work of cinematography (courtesy of Philippe Le Sourd) and a disjointed narrative. Unfortunately, this last aspect becomes problematic as in the attempt of capturing the spirit of a whole generation, Wong seems to ramble, leaving unexplainable plot holes and underdeveloped subplots (the character of "Razor" Yixiantian could be removed and nobody would even notice). Since the film lacks a solid structure, the movie feels incomplete. But "Yi dai zong shi" isn't merely a recollection of Wong Kar-wai's thematic obsessions, it's also a martial arts film, and in this aspect the remarkable fight coreographies staged by the legendary Yuen Woo-ping are a highlight of the film. Truly getting to the origins of the portrayed martial arts, Yuen manages to make a relatively faithful portrayal of the diverse styles employed by the masters, focusing not on fantastic exaggeration, but in the inherent beauty of the correct execution of a technique. This is certainly one of Yuen Woo-ping's best jobs.

Tony Leung, a familiar face in Wong Kar-wai's cinema, manages to truly get into the role of Ip Man, making him an arrogant yet disciplined man. Leung's Ip Man is a martial arts aesthete who knows he is fortunate, but that doesn't take advantage of his privileged position. Leung's work gets better as his character grows older, as the arrogance of youth gives place to wisdom and serenity after a life of hardships during the war. However, while Tony Leung makes an effective performance, it is really Zhang Ziyi as Gong Er who truly steals the show in "Yi Dai zong shi". As a woman obsessed with revenge to the point of sacrifice, Zhang Ziyi delivers one of her best performances ever, creating a character of complexity and beauty. With elegance and strong screen presence, Zhang Ziyi manages to express more with a single look than with the film's poetic dialogue. Finally, Chang Chen appears as "Razor" Yixiantian, character whose plot is sadly forgotten latter in the movie. The interesting things is that, in spite of that, Chang Chen manages to create a character with greater impact than Tony Leung's Ip Man.

Maybe the most remarkable aspect in Wong Kar-wai's film is the great beauty of cinematographer Philippe Le Sourd's work, who manages to capture the melancholy of the romantic view of Wong Kar-wai on the time period in which the film is set, as well as the beauty of the portrayed martial arts. A perfect complement to choreographer Yuen Woo-ping's work, Le Sourd's cinematography enhances the style and technique with great aesthetic beauty. Quite appropriately for a story about characters that value technical proficiency above all things. However, it's unfortunate that the beauty of the cinematography and the excellence of the performances get lost in a narrative that at times seems to lose the direction where it's going. The stories of these masters, Ip Man, Gong Er and "Razor" Yixiantian are extremely interesting, but there's a moment where it seems that the movie decides to focus exclusively on Gong Er and forgets entirely the other two, which end up in a rushed manner. The sensation the film leaves is that for some reason, "Yi dai zong shi" is not a completed film, despite that there are three different cuts of the film.

Despite this big problem with its narrative, "Yi dai zong shi" is a movie of great visual beauty and impeccable cinematic technique. Wong Kar-wai manages to create a martial arts film that's reflexve and philosophical without sacrificing the genre's inherent spectacle. It would be unfair to expect a proper biography of Ip Man when what Wong Kar-wai pretends is to get into the memory of a bygone time: the end of Chinese Civil War. As famous filmmaker John Ford once stablished: "When the legend becomes fact, print the legend". Wong Kar-wai gets into the modern myths that are the old martial arts masters and finds a group of fascinate characters that struggle to survive in a world that seems to have left them behind. Unfortunately, "Yi dai zong shi" fails to become the great work it could had been.

7/10

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Looper (2012)

Way before British author H.G. Wells made popular the idea in his classic science fiction novel. "The Time Machine" in 1895, stories about time travel had already been an integral part of our imagination, going back to the beginnings of civilization (time travel even appears in Hindu mythology). And this is because at their core, this kind of science fiction opens the possibility of answering a question that has always fascinated us, perhaps even more than any other futurist vision: Is it possible to change the past? The many implications of this question, which range from the creation of paradoxes to questioning the existence of fate, have resulted in many works of fiction that explore the consequences of time travel to the past. This interesting question is tackled in "Looper", a science fiction movie written and directed by American filmmaker Rian Johnson (who rose to prominence in 2005 with his neo-noir film "Brick"), where in the future, the novelty of time travel is used for a very interesting purpose.

In "Looper", the story is set in the year 2044, in Kansas, where Joseph Gordon-Levitt plays Joe, a young man with a quite particular job: he is in charge of killing people sent from the future by the criminals of those years.Time travel, inexistent in 2044 but invented thirty years later, is used in this way by the future mafia to get rid of their enemies due to the difficulties of doing it in their time. However, the rules specify that eventually, one day Joe will have to kill his future self, closing in that way his contract (or "loop") with the chance of retiring until the time comes for him to be sent to the past. That's why he is called a "looper". The day of closing his loop arrives for Joe, but when his future self (Bruce Willis) arrives, Young Joe is surprised by Old Joe whom avoids being killed and runs away. Since he let his future self escape, Joe becomes the target of the mafia, so he'll have to find and kill Old Joe before the mafia catches him. At the same time, Old Joe will have to solve a business in the past while he avoids getting himself or Young Joe killed, as that would result in his own death too.

As mentioned before, the screenplay was written by director Rian Johnson, whom presents an action and science fiction film with a quite original premise. In "Looper", Johnson develops an intelligent screenplay, which takes the often problematic concept of time travel and takes it as the basis to elaborate not only a thrilling story of futuristic criminals, but really a full-fledged tale of self discovery. Young Joe, arrogant and selfish, faces an Old Joe who knows quite well what will be the future of the life of death and drugs that Young Joe is currently living. In full Philip K. Dick style, Johnson is using the usual genre conventions of science fiction to express a more personal, more intimate conflict: the struggle of the protagonist against his inner demons. And this is perhaps the main characteristic of Rian Johnson's "Looper", as it chooses not to worry too much about the intricate technical complexities of time travel and, wisely, opts for focusing chiefly in developing his group of characters and the relationships between them.

This preference towards the interior instead of the exterior is reflected in the visual conception of the future that director Rian Johnson displays in "Looper", as instead of making an extravaganza of futuristic imagery in his movie, what "Looper" shows is a future closer to our reality, that is, closer to the current patterns regarding fashion and technology, resulting in a somewhat realistic vision of the world of tomorrow. The changes that the future shown in "Looper" displays, instead of technological, are more related to the society that inhabits the Kansas City of the year 2044, a society without law, where the crime runs rampant and death is on every corner. Johnson brings to life this urban nightmare with great imagination (and with the great job of art director James A. Gelarden), focusing in classic aspects of Americana mixed with his own brand of science fiction. The cinematography by Steve Yedlin manages to capture this familiar Midwestern atmosphere, that gives the movie a very distinctive personality of its own.

Acting is of pretty good quality, starting with a Joseph Gordon-Levitt that once again shows his talent to play ordinary persons in extraordinary situations. As Young Joe, Gordon-Levitt plays a young man without anything to lose and totally determined to live a short but luxurious life in exchange of killing people for the mafia, though this showdown with his own self will make him think twice about what the future has for him. Perhaps a problem of his performance is that at times it seems he tries too hard to imitate Willis. While recalling at times his character in "Twelve Monkeys", Bruce Willis makes an excellent performance as Old Joe, in what is probably one of the best works in his career. The advantage of course is that in "Looper" his character allows him to explore more emotional aspects that at times move him away from his image of tough guy, that is, allow him to enter the pain that this time traveler experiments. The rest of the cast keeps the same level of quality, excelling specially Paul Dano as Seth, and Jeff Daniels who makes a terrific job as mafia boss Abe.

Creative, intelligent and pretty original, "Looper" is a great work of science fiction in which director Rian Johnson gives good use to the concept of time travel to create an action film with a pretty interesting subtext. Certainly, Johnson makes the most of his premise and develops a quite entertaining story from it bu, unfortunately, "Looper" is not without its problems. First of all, while Johnson tries to consciously avoid to give details about the film's future (2074) and about time travel itself, some bits of information could had been given to better explain some concepts in the film, as in more than one occasion there's the feeling that time travel is just an excuse to begin the story (and while that's perfectly OK, it shouldn't be that obvious). Poorly developed details such as the fact that the premise rests in the weak concept of having the mafia to prefer to send people to the past instead of killing them, makes "Looper" to lose some of its strength. Finally, the film can't avoid to attract the inevitable comparisons with "The Terminator" and the aforementioned "Twelve Monkeys", which don't give it any good.

Anyways, in spite of its flaws, in "Looper" filmmaker Rian Johnson presents a style of science fiction that shows itself as intelligent, courageous and willing to experiment; three characteristics that have defined the cinema of Johnson ever since the beginning of his career (as shown by his quite particular approach to noir with "Brick" and comedy in "The Brothers Bloom"), and that set him apart as one of the most interesting directors of the early twenty first century. With an interesting premise and full of exciting action scenes, "Looper" is without a doubt one of the best science fiction films released in the year 2012.

8/10
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This review was originally published in Spanish for Habitación 101 on October the 12th of 2012. Habitación 101 is a great site to check for news and reviews on cinema and theatre in Spanish.

Xizao (1999)

When American producer Peter Loehr arrived to China in 1996, he discovered two things in the local industry: a great amount of talent and a lot of difficulties for film distribution. The rising generation of independent cinema was moving away from the lavish historical productions of filmmakers of the so-called "Fifth Generation" (like for example, Yimou Zhang), being more interested in urban realism. Backed by a Taiwanese media company and with the goal of discovering new talent and making independent cinema, Peter Loehr produced the first film of director Yang Zhang, the low-budget "Aiqing mala tang" ("Spicy Love Soup"). After experiencing difficult times finding ways to distribute the film, "Spicy Love Soup" finally was released and became an enormous box office success, launching the careers of several members of its cast and crew. Two years later, Yang and Loher collaborated again in another independent low-budget film, "Xizao" (known in English as "Shower"), a family drama about the clash of modern life and China's ancient tradition.

Centered on a traditional bathhouse for men in Beijing, "Xizao" is the tale of the bathhouse owner Liu (Xu Zhu) and his two sons: Da Ming (Quanxiu Pu) and Er Ming (Wu Jiang). Da Ming, Liu's elder son, is a successful businessman in the southern city of Shenzhen after abandoning his father many years ago, while Er Ming, whom is mentally challenged, helps his father run the bathhouse. One day, Da Ming unexpectedly returns home believing his father has died. However, what happened was merely a confusion caused by a drawing Er Ming had sent to his brother in a postcard. Feeling uncomfortable around his father and brother, Da Ming prepares to return to Shenzhen three days later; but when Da Ming loses Er Ming at the airport, he decides to stay in Beijing until he finds him. Fortunately, Er Ming returns home the following day, though this event opens Da Ming's eyes to the way his father feels about him. So, when old Liu catches a cold and falls sick, Da Ming decides to stay at home and help his family. And he'll discover that the old bathhouse is still alive.

Working again with the team of writers that penned his previous film "Spice Love Soup" (Shangjun Cai, Yi'nan Diao and Fendou Liu, plus Xin Huo), director Zhang Yang conceived in "Xizao" what is basically the story of a man rediscovering his past, rekindling with the life he wanted to abandon in his youth. The urban, modern businessman that Da Ming represents, detests the environment represented by his father's traditional job, and utterly abhors abhorring the idea of continuing with the business. The return to the bathhouse will take him to learn the true importance of his father's job, something he had considered obsolete. It could be said that the relationship between father and son is "Xizao"'s main theme, however, it would be better to state that "Xizao" is about the estranged relationship between Da Ming and his past as a whole. His inability to understand his brother Er Ming is another reflection of this, as is, to a lesser (though no less important) extent, his inability to relate to the problems of the bathhouse's small community.

While this sounds like a deep serious film, director Zhang Yang actually takes a light-hearted approach to his story, making it more of a comedy with Da Ming being a fish out of the water in his father's bathhouse. However, Yang's comedy is always respectful with its subject matter, and he crafts his film with great subtlety, handling marvelously the themes of family and progress. In "Xizao", Zhang Yang opts for a realist style, and uses Jian Zhang's great work of cinematography to truly capture the homely and warm environment of the traditional bathhouse to great effect. Yang's narrative is simple, restrained, as he lets his story flow without much visual flare. And yet, this simple way of telling his story suits nicely the atmosphere of the friendly micro-verse that is contained within the walls of the bathhouse. The way Yang develops each one of the subplots that take place inside the bathhouse is remarkable, as not only it truly builds up the sense of witnessing a community vibrant with life.

Nevertheless, this aura of reality would not be possible without the remarkable work of acting that the main cast delivers in the film. The naturalistic approach Yang takes for his film extents to the performances of his cast, with Wu Jiang shining in his performance as the cheerful younger brother Er Ming. Portraying Er Ming's disability with a sheer honesty and great respect, Jiang creates a well-rounded character that truly transmits the spirit of the film. Certainly, Jiang steals the film with his impressive performance. As his older brother Da Ming, Cunxin Pu is quite effective and natural, and despite having a somewhat unlikeable character, it's not difficult to feel identified with his rediscovery of family life. In his final role before retiring from film, actor Ding Li delivers a moving performance as old master Lin. His scenes with Jiang's Er Ming are filled with a highly emotional charge, yet never verging to the excessively melodramatic. The rest of the cast is pretty effective and natural, looking almost like real people being filmed.

One of the greater strengths in Zhang Yang's "Xizao" is the great balance it has in its elements. There is a perfect equilibrium between the comedy and the drama, between the old and the new. Almost echoing the very same equilibrium that the character of Da Ming so desperately needs. Interestingly, there is a balance even in the handling of its themes, as even when "Xizao" could had easily stick to a patronizing, conservative view of "old days were much better", instead it opts for a stance that conciliates the old with the new, as if saying "progress is good, but without forgetting the roots". Also of note, is the treatment of the bathhouse as a gathering place for people, for building and fostering relationships between people and purification. In "Xizao", the bathhouse is a place that purifies not only the body, but also the soul. Given its familiar storyline, the film is a tad predictable to a certain extent; but Zhang Yang manages to make the film a ride so pleasant, that it's lack of originality can be forgiven.

Through its light-hearted humor and warm charm, "Xizao" delivers a powerful and moving story that avoids the trap of cheap melodrama or dull pretentiousness. And yet, it is a piece that is as thought-provoking as it is fun. And it is also another proof that without visual flare or great production values (the film was done with an extremely low budget), an amazing movie can be made. It is not even a complex plot or an exceedingly original concept. All that is needed is the proper visual narrative for the story, and for "Xizao", the slow, subtle style that director Zhang Yang employs is all that this story requires. In all its simplicity, "Xizao" delivers its message with a profound beauty and astounding charm.

8/10 
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Blood: The Last Vampire (2009)

 In the year 2000, famed anime producers Mitsuhisa Ishikawa and Mamoru Oshii released a short anime film that showcased revolutionary animation and a stylish visual design: "Blood: The Last Vampire". A tale of action and horror directed by Hiroyuki Kitakubo, "Blood: The Last Vampire" became one of the most popular and successful anime films of all time, earning worldwide praise because of its innovative animation and haunting atmosphere. Its popularity was big enough that soon talks began about adapting the short film to a live action feature length movie with William Kong ("Wo hu cang long") as producer and Ronny Yu ("Huo Yuan Jia") as director. Several changes took place and in the end, "Blood: The Last Vampire" ended up becoming a Chinese-French co-production with filmmaker Chris Nahon ("Kiss of the Dragon") at the director's seat. Unfortunately, the new incarnation of "Blood: The Last Vampire" resulted having nothing of what made the original good, and having instead a lot more of what prevented the original from being a true classic.

"Blood: The Last Vampire" is the story of Saya (Korean actress Jun Ji-hyun, using the English screen name Gianna Jun), a four hundred years old demon hunter. A half human-half-vampire, Saya was trained as a samurai and uses her supernatural abilities working for a secret organization named "The Council", which has been hunting demon vampires for centuries. Saya's relationship with The Council is a difficult one, and she only helps them out of a personal desire for revenge, as the ancient vampire Onigen (Koyuki) murdered her father. In the early 1970s, The Council takes Saya to U.S.-occupied Japan, sending her undercover as a student in Kanto High School near the Yokota Air Base. At school she saves Alice (Allison Miller), the general's base's daughter, from being killed by two classmates (Masiela Lusha and Ailish O'Connor), whom are actually vampires in disguise. Alice is shocked by the sight of Saya butchering her classmates and asks her father, General McKee (Larry Lamb) for help. Alice will soon discover that Saya is actually the only one who can help her.

Adapted by Chris Chow (writer of Yu's "Huo Yuan Jia"), this new version of "Blood: The Last Vampire" retains the basic core storyline of the anime film and adds diverse subplots and backstory to the film's characters. Certainly, the lack of any depth or backstory was one of the biggest flaws in the original "Blood: The Last Vampire", and Chow makes a commendable attempt at expanding the storyline in order to give some reasons and motives to the characters' actions. However, Chow's take at filling the holes in the unfinished story of the original "Blood: The Last Vampire" is not entirely a successful one. Chow abuses of tired clichés of the genre, and does it in a rather simplistic and cheapening manner. There are positive ideas, like the addition of Alice, which allows a greater development of Saya's personality; however, the convoluted plot is still plagued by holes and the bad habit of making Saya a flawless, practically invincible protagonist. Along with the lack of a strong villain, this results in a really unengaging story.

French director Chris Nahon shows off a vibrant, highly energetic visual style that is quite attractive visually, however, his narrative style is sloppy and fails to fully develop the film's concept. Granted, Chow's screenplay is not without its problems, but it is ultimately Nahon's directing what gives the final blow to "Blood: The Last Vampire". To be fair, Nahon does capture the stylish look and dark atmosphere of the anime, and recreates quite faithfully the original's action sequences. Hang-Sang Poon's work of cinematography actually gives the movie a distinctive personality of its own, and Clint Mansell's score is a highlight of the film. However, Nahon fails to translate Chow's screenplay to visual storytelling, and when it expands beyond the anime's plot, Nahon's tacky narrative seems to prefer flashy action scenes over advancing the plot and, while the action scenes do feature great work of choreography, it all gets messy thanks to some of the worst CG visual effects in a film of this caliber.

The performances by the cast range from very good to dreadful, and unfortunately this can be witnessed first-hand in the work of lead actresses. Gianna Jun is a joy to watch, and actually puts up a good effort as the demon hunter Saya. Without saying much, the young actress can express a wide variety of emotions, and also showcases talent for action sequences. On the other hand, Allison Miller delivers a pretty poor performance as Alice, and transforms what could had been an interesting role into a quite stereotypical token character that only serves as simplistic foil for Gianna's character. The difference between them is abysmal, and their lack of chemistry can be felt. Japanese actress Koyuki, who plays Onigen, is pretty much in the middle, delivering a pretty average performance, though to be fair, hers is the worst developed character, a mere caricature of what a villain should be. Irish actor Liam Cunningham gets wasted in a similarly underwritten role. The rest of the cast is pretty average as well.

If the original "Blood: The Last Vampire" lacked a proper story, Nahon's version lacks proper storytelling. More interested in crafting acting sequences, Nahon fails to give space to his characters, and leaves Chow's already convoluted screenplay an even more confusing mess. Despite his visual flare, Nahon is unable of letting the story flow visually, resorting to expositive dialogs and lengthy flashbacks to advance the plot. Still, Chow's screenplay is not without its fair share of flaws, the main one being the lack of a remotely interesting villain. The vampire demon Onegin sounds like an interesting character, but it is flatly developed and ends up being a quite lifeless entity no better than the other ninjas and vampires that are killed. Alice, a character that could had given great depth to Saya, becomes an underused element that seems to serve only to act like a damsel in distress, waiting for Saya to save her. The convoluted plot involving the CIA, the Council and the army is too carelessly developed and seems to be there to fill space.

Unfortunately, Chirs Nahon's "Blood: The Last Vampire" has more flaws than virtues, as it wastes an original concept in a quite typical action film with horror elements that adds nothing new to the genre (neither the original anime did, but at least it had an innovative work of animation). Certainly, the film has some good assets, particularly Gianna Jun's performance and the remarkable work of stunt choreography in the fight scenes. Sadly, it's not enough to save the lousy narrative and messy storytelling that plagues Nahon's "Blood: The Last Vampire". The myth of the vampire has inspired a vast amount of stories and interpretations, and probably will keep inspiring many more. Sadly, Nahon's "Blood: The Last Vampire" is not the one to look for a good action-packed vampire story.

4/10
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Ye Ban Ge Sheng (1937)

Ever since it was conceived by French writer Gaston Leroux in his novel, "The Phantom of the Opera", the tale of a disfigured musical genius who roams the Opera house has become one of the most famous horror stories of all, and the inspiration of many films. Without a doubt, the most famous of those films was Rupert Julian's "The Phantom of the Opera", produced by Universal studios in 1925 with Lon Chaney as the Phantom. That classic adaptation would be one of Universal's biggest hits of all time, and not only in America, as literally in every country it was shown it became very popular. In one of its showings, the film was seen by a young Chinese filmmaker named Weibang Ma-Xu, whom fascinated by Chaney's performance, conceived his very own version of the story and titled it "Ye Ban Ge Sheng", literally, "A Song at Midnight".

The story is set in an old theater, where many important actors performed once, but that now is abandoned as rumor says that the ghost of famous singer Song Dangping (Shan Jin) roams the place. One night, an acting troupe arrives, hoping to have success in such a famous theater. However, they all end up disappointed when they see the sad state of disuse in which the theater is right now. Despite this, they begin the preparations for their debut, and young singer Sun Xiaoou (Chau-Shui Yee) is chosen to play the lead. Xiaoou retires to practice alone, as he has troubles to sing the part correctly, and it's at this moment when he hears the ghost of Song Dangping, who appears to teach him how to sing. With the aid of the ghost, Xiaoou is a success, but when he tries to thank his master, he discovers the secret behind the ghost of Song Dangping.

As written above, director Weibang Ma-Xu wrote "Ye Ban Ge Sheng" as a reinterpretation of "The Phantom of the Opera"'s story, however, he only took the concept of the deformed musical genius and created his very own tale out of it. "A Song at Midnight" is essentially, a tragic romance with horror elements, as the plot focuses on the Phantom's inability to be with the woman he loves (played by Ping Hu) and his decision to use his disciple to interact with the world he lost. It's a really fresh take on the concept, as it truly keeps the spirit of the story while at the same time adapting it to the Chinese culture. Ma-Xu plays skillfully with mystery and suspense, as he unfolds the details of the story with the care of an artisan. It's pretty obvious that he loved the concept a lot, as his development of both plot and characters is remarkably good.

Interestingly, the idea of the story wasn't the only thing Ma-Xu adapted from Western film-making, the style Ma-Xu uses in "A Song at Midnight" is also clearly inspired by Universal horror movies of the 20s and the 30s (mainly "Frankenstein" and "Dracula"). With the excellent cinematography by Boqing Xue and Xingsan Yu, together with a slightly expressionist set design, director Ma-Xu creates an ominous gloomy atmosphere of mystery and magic that really sets the mood for this story of horror and romance (most of the scenes are set at night). Naturally, the film has many limitations due to budgetary reasons, however, Weibang Ma-Xu inventively manages to create a very powerful film that looks great despite his limited resources. I also must say that the work of make-up for this Phantom is simply excellent.

The cast is pretty effective in their performances, and despite the natural melodrama of the story, there's little overacting in the film. In his debut on film, Chau-Shui Yee (who would become a big star in the 40s) is very good as the young Sun Xiaoou, and while he looks a bit wooden at times, he truly had a natural presence in front of the camera. As the tragic anti-hero Sing Dangping (Shan Jin) is simply excellent, managing both the fearsome and the vulnerable sides of his character with a great ease and control. It's impossible to know if the singing voices of their characters are those of Shan Jin and Chau-Shui Yee, but their work is simply masterful. Ping Hu plays Li Xiaoxia, Sang Dangping's lover, and while she looks beautiful in her role, she is prone to overacting just a bit too much for her own sake, although it's not really a problem.

While an interesting example for early Chinese horror, "Ye Ban Ge Sheng" is sadly far from being a masterpiece, as there are several details that prevent this film from being perfect. Contrary to what could be expected, the film's main problem is not caused by the low budget, but by the strange pace the film has at times. What I mean is that often the story flows at a good pace but suddenly it gets slowed by long scenes of Chinese opera that, while of great beauty (and very interesting to foreigners), damage the pace the story has and can be boring to people not expecting this (In a way similar to Universal's 1943 remake of "The Phantom of the Opera"). Other than that, the movie is an excellent Chinese entry into the early horror genre, and those with a fondness for Universal horror films from the 30s will find a movie very much akin to their tastes.

Sadly, when it was initially released, "A Song at Midnight" struggled to be taken seriously because Chinese critics considered it was "too American" for a Chinese film. Fortunately, audiences reacted better and it is now one of the most famous horror films in the country (so much that Ma-Xu directed a sequel in the 40s, the Shaw brothers made a remake in the 60s, and recently Ronny Yu has done another version in the 90s). Fans of Asian cinema, this movie was the beginning of all.

8/10

Buy "Ye Ban Ge Sheng" (1937)