The Sun Also Rises (2007)
The Sun Also Rises (2007)
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Critic Reviews for The Sun Also Rises
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Audience Reviews for The Sun Also Rises
one of the most richly texualized Chinese films in recent years, highly reflective of the interwined personal experiece(mostly repressed sexual experience) with the patriachal modern Chinese history. Elusively enough, the film reveals the meaning of martyrs. The martyr is always an absent signifier. Although his name is "not empty"(bukong), he leaves only clothes and political symbols without concrete bodies. He takes on an empty Russian name "Aliosha"by his wife and the wife often recites "ci di kong yu huang he lou". Later the martyr's nomination is also depreived as the son is told " your father is not a martyr while your grandfather is". This film can be approached via different perspectives, such as gender relations (Kaqiusha as cannon and girl's name), psychoanalysis(rich symbolic meanings)etc. Each perspective can be proved to be fruitful. However, this film is very hard to digest in the first watching experience, largely because it adopts a retrospective temporal sequence, which renders the subplots and symbolic meanings unmotivated without the general understanding of the whole film plot. Although such a reversed narrative sequence can put the climax in the end of the film, it should have, at least, given some hints to the audience, who obviouly could not rewind the film to the beginning in a theater. This lack of consideration of the actual watching film experience in the theatre reasonably explains the film suffered from a box office flop.
Jiang Wen is definately one of the most art house director from China, no wonder he's well-known to many European directors. The Sun Also Rises had beautiful cinematography. The story might seem hard to understand at first with it's simple but non-logical story-telling way. But everything is connected(at least that's how I see it.) One thing I love about Jiang Wen's work is that he likes to use his strange artistic vision(which is hard to be accepted to Chinese audiences yet) to tell stories with a rich Chinese historical background. Great performances were shown, and I was impressed with Jaycee Chan as well.
Wen Jiang once again proves to an amazing director. This is filmmaking of the highest order, loaded with the expressive camera stylizations of Jeunet and the madcap magic realism of Kusturica. There were scenes that made me actually say "wow". The film does seem rather incomprehensible at times (especially during the first part) and the ambiguity may be a bit gratuitous, but not unbearably so and it all pretty much comes together in the end. Wonderfully intriguing and funny and brilliant.
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