Back to 1942 Reviews
Refugee actors learned to speak in authentic Henan dialect, giving the film a very earthly, visceral, homely-to-that-region feel that contrasted with the more Beijing Mandarin spoken by the national government officials. The movie was intense and appropriately peppered with black humor (the nonchalant-numbness or weariness being part of it). If the emotions were any less "subtle," any more pronounced or melodramatic, it would detract from the movie and cause the emotions to feel "fake". The "muffling" effect actually characterizes how the Chinese people "dealt with" a long history of oppression, injustice, atrocities and national tragedies. The muffledness of the story imparted the right hue of emotions, such as deep despair, sorrow, weariness, shock, starvation and exhaustion. Rag dolls under extreme duress without any choice other than yielding to the most terrible of circumstances. I truly felt that the way the director treated it was spot on and not "bland" like some find it.
Certain connection points were not entirely bullseye logical, even imbecilic (nevertheless in a very realistic way); but the rest of the movie makes up for this flaw. It was also very interesting to see a monochromatic but accurate painting of human flaw in the governors that would be small on a personal scale but catastrophic on a provincial and national level.
Totally worth watching and deserving of a higher rating than it has received here. Reviews on Netflix are pretty good and quite educational.
How much a viewer can get out of this 'movie' is purely up to the viewer's personal knowledge about China. If a viewer have sufficient knowledge about China, this piece is a priceless treasure that worth watching over and over with new insights discovered each time.
Unfortunately this means not even many of the 'Chinese people' living on this planet nowadays would appreciate this film, let along other non-Chinese people.
It saddens me to see this 200% film gets rated 40% here, however knowing this film is a diamond, rather than a tomato, dampens the sad feeling.
The mediocre, but kind of harsh-seeming consensus, at least by American critics, is that this film is an overblown mess of uneven focus that is too overambitious to be all that compelling, and quite frankly, I don't see where people get this, as I find the film to be pretty tight and thorough on the whole, and yet, I can't say that the critics are entirely inaccurate, because when the film gets overblown, it really loses much in the way of edge and focus, juggling a multitude of subplots generally well, but having moments where it loses track, and with it, focus, resulting in an inconsistency that thins out a sense of general direction for this layered epic, further hurt yet more unevenness. Pacing is yet another aspect that stands to be more inconsistent, yet that's perhaps mainly because this film has a tendency to stick with a specific level of pacing more than jar back and forth between levels, which would be could and all if this film's preferred pacing wasn't slow, inspired by excess material that also inspires the aforementioned problem of focal unevenness, as well as by excess filler that stops the progression of narrative cold and gets to become repetitious. The structural limp spells aren't too serious, or at least not on the whole, but they certainly stand, and considering the final product's near-two-and-a-half-hour runtime, it gradually becomes more and more difficult to deny their presence, especially when the limited momentum in story structure is made all the more glaring by dry spells, which are decidedly the most recurring plagues on this film, drying up atmosphere into a distancing coldness, sometimes to the point of being just downright dull. Sure, the dullness, like most everything else the critics are complaining about, isn't as bad as they say, meaning that the coldness in resonance isn't as severe as some might lead you to believe, but there's no denying that this epic stands to pick up the pace if it wishes to establish some sense of great sweep and piercing resonance, rather than spend too much time meditating upon worthy, but aimless material, and do so with only so much subtlety. If nothing else is being complained about by everyone and their dog, it's a lack of genuineness to this drama, and once again, such a problem isn't as severe as they say, but it nevertheless stands, for although this film isn't quite as manipulative as the still fairly rewarding "Aftershock", director Feng Xiaogang still has a tendency to blow little things like the playing up of Zhao Jiping unevenly used score out of proportion, and overemphasize, say, disturbing imagery and long periods of nothing but filler material of people suffering to get this film's point across, and reflect a certain overambition to the project. More often than not, the noble ambition behind this effort is fulfilled, but it really brings to light the areas in which good intentions are not done the justice they deserve, thus leaving the final product to fall short of its potential under the weight of uneven focus, pacing and subtlety. Of course, what is done right in this ambitious project is done so well that it ultimately proves to be more recognizable than the shortcomings, which are there, to be sure, but are overpowered by the final product's dramatic value, as well as its artistic value.
As surely as the problems in this film aren't quite as severe as they say, the cinematography by Lü Yue isn't as great as many perhaps reluctantly say, but make no mistake, this is a fine-looking film, as Yue delivers on a chillingly chalky color palette that is attractively unique by its own right, as well as complimentary to the grit in this harsh drama's mood, as well as on a certain tight scope that immerses you into the film's intricate production value, and by extension, the sweeping action. The action aspects to this war epic are unevenly played upon, and when warfare dramatizations do come into play, dynamicity is, as you can imagine, limited, but the action sequences in this film are still well-worth the wait, being grandly well-staged, with visual effects that are, as I jokingly stated in this article's opener, improvable, but adequately complimentary to the style of the warfare, as surely as the dramatic atmosphere proves to be complimentary to the weight of the warfare. Technically and stylistically, the final product is far from a spectacle, but it is impressive, with good looks and the occasional thrilling action set piece to punch up the effectiveness of this well-produced epic, and when it comes to the core of this drama, like I've been saying over and over again, I can't entirely subscribe my peers' lukewarm reception. Sure, storytelling is flawed, rich with focal and pacing issues that bloat the final product as kind of aimless, but there's never any denying that there is some considerable potential for an effective drama to this valuable subject matter dealing with the struggles of the oppressed during wartime, as well as the political intrigue surrounding the plots to take action for the sake of the misfortunate, especially when the meat of this important story is firmly brought to life by heights in Liu Zhenyun's script that boast human depth to characterization, which is itself brought to life by inspired performances. The critics at least agree that the acting in this film is strong, so nothing else is nailed by my fellow critical viewers of this film, it is the comments on this drama's performances, as most everyone delivers, whether it be our token, if rather ultimately unnecessary American stars Tim Robbins and Adrien Brody, - particularly Brody, who is moving and engrossingly relatable in his emotionally charged portrayal of Theodore H. White, a caring American who faces both danger and exposure to more suffering than he could have ever imagined as he enters a famished foreign land - or a hefty ensemble of Chinese talents who each give distinguished, dramatically piercing portrayals of the layered, mostly fictionalized representatives of a dark period for the people of Henan, China. The onscreen talent is most certainly there, and it's rich, as most everyone has a time to shine and move as carriers of much of the effectiveness within this important drama, but at the end of the day, in order for the film to reward, director Feng Xiaogang must deliver, and sure enough, in spite of his shortcomings as storyteller, Xiaogang meets every slow spells with an atmospherically kicked up spell, and ever manipulative moment with a genuine piece of dramatic punch that, while never really tear-jerking, compels thoroughly as a height in intrigue that wouldn't stand as firmly as it does without Xiaogang's inspiration, which in turn wouldn't stand as firmly as it does without ambition. Xiaogang clearly wants this film to succeed, and that makes the areas in which Xiaogang does not deliver hard to ignore, yet at the same time, the heart that goes into this project also emphasizes the strengths, of which there are enough to do justice to this important subject matter and make a genuinely compelling dramatic epic.
When it's all said and done, the problems in this film aren't as great as many say, but they still stand to some degree, with focal unevenness, aimless bloating, dull spots and manipulative areas - all emphasized by overambition - being considerable enough to drive the film short of what it wants to be, but not so short that the handsome cinematography, excellent production value, thrilling war sequences and compelling telling of a worthy story - anchored by well-developed writing, strong acting and heartfelt directorial storytelling - aren't able to carry "Back to 1942" as a rewarding meditation upon the terrible famine faced by the Chinese people during the Second Sino-Japanese War.
3/5 - Good
Perhaps too long, but full of epic scenes where the director shows his mastery of working large crowds. But also a tale of unmitigated loss, degradation and privation as two families make a starving exodus from their home.
The scope of the story is told through the struggle of province Governor Li Peiji to get aid from Generalissimo Chiang Ka-shek in WWII-era China. But the center of the story is the march of perdition (without eventual hope) for landlord Fan and his servant Shuang, along side one of the landlord's tenants, Hua Zhi.
There are moments of pride for these families and moments of horror. The war impacts their journey as much as the famine, which adds scope, but I found that the moments of emotion were over-presented. I could not connect with them because the situations were somewhat manipulative and excessively tragic to comprehend or empathize with.
But I know that my reaction was not entirely representative. Many cried, especially at the end when the worst of the worst befalls the remnants of the survivors. One indicator is that the jaded and whispering college-age kids speaking Mandarin behind us as we watched were silenced, some sobbing, as the movie closed. So this clearly works for some.
Just not for me.
Feng presents the multiple layers of clues and facts that lead to the ultimate tolls almost as-matter-of-factly, leaving the audience putting together the puzzles and drawing their own conclusions, which is a rather clever way of avoiding censorship and engaging the audience.
Could have been A LOT grittier and more affecting. Acting is powerful in this film. However for a film depicting a major famine that claimed over 3 million lives in recent history, not much huger is shown as visuals in the film, most of the lingering hunger is talked about/acted out which reduces the general affecting power of the film.
Xu Fan and Zhang Guo-Li are amazing in this film with their acting. Xu gives her most powerhouse performance yet, portraying the tough bottom-feeder hillbilly b*tch who would attempt anything/everything in defending her and her family's rights to live. However for a country woman who's been starving for over 100 days and more than willing to sell her kootch for a couple of crackers, what's with her double-chin (think Jennifer Lawrence's face in The Hunger Game -- she can act all she wants but I'm sorry, girlfriend is just NOT that hungry)? WTF happens to her makeup artist team and special visual effects people?!
Adrien Brody is effectively engaging as a very eager T.H. White who's desperately trying to expose the truth, whether driven by his journalist instincts, Pulitzer, or a genuine sympathy for the poor and depraved. However don't even get me to start with Tim Robbins - why is he even in the film??? The couple of scenes he's in are cringe-inducing. Even if you edit them out altogether it would not affect the story's flow whatsoever.