Back to 1942 - Movie Reviews - Rotten Tomatoes

Back to 1942 Reviews

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March 11, 2016
Not very good but curious to see how bad
September 23, 2015
Simply too many undeveloped characters. It's hard to care for so many people when you can't really remember who's who.
½ August 5, 2015
ok WWII epic post WWII
June 30, 2015
This story is sad, but this story should be told. Most people when talking about WW2, focus on the major events that unfolded. What seems to be lost in translation was the struggle abroad with our other allies. This movie is definitely worth watching.
April 4, 2015
This is an epic and interesting movie about the famine in a place called Henan during the 1942 Japanese war which took 3 million people's life's. It follows a wealthy family who are forced to flee Henan with the rest of the many families who struggle to reach a better place, which will supply them with food and shelter. The journey takes its toll on the many families and the lack of food and freezing weather takes many of there life's. There's a lot of political issues connected to the reasons why they are forced out Henan, which are addressed in the movie but it's the touching story of the family which really made the movie for me. The acting is great from all of the cast and I really can't imagine how it must have been for the real people that were forced into this gruesome situation. I would have liked it dubbed in English so I could have concentrated on the emotional scenes but thats just me being picky. Although the subject matter is quite deep and the storyline was pretty interesting, I did get bored in some parts and it did seem to drag after a while. With that aside, the true story is amazing and I'm surprised that this epic journey about the people of Henan and there search for a better life, wasn't told earlier. Watchable!

This is another one of those films were they put the big names on the poster and there not really in the film. In this case the people are Adrien Brody and Tim Robbins who only had small parts in the movie. To be honest, they were the reason why I rented the movie because I was wondering how they were involved in this epic tale but they wasn't the main characters in the film. Brody did play a massive role in getting the aid to the starving people who took part in this amazing journey but I didn't really see the point in Tim Robbins role. Anyway, I personally enjoy movies were you actually learn something and in this case, it's a piece of Chinese history which I hadn't heard about before. Its a shame that it didn't get the big Hollywood treatment because I'm sure that a lot of people will be shocked when they see what these individuals had to go through. They ended up thinking that dying was a blessing because the journey became too much for the people of Henan and the ones that survived, had to live with the fact that they lost there families and loved ones in such a terrible way.

I recommend this movie to people who are into their epic dramas about the famine in Henan and there epic journey to find a better life, which took 3 million people's life's. 6/10
½ December 15, 2014
"Some reviewers said that they could not feel the emotions despite the gory scenes and horrifying conditions the movie paints. (by the way it was a very artistic and a beautiful film to watch) I believe this is due to the emotional triggers used by the director being fairly "Chinese" and it may be harder for a complete non-Chinese to resonate with these triggers.

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.
June 1, 2014
praiseworthy where drew inhumanity at war smoothly.
½ May 16, 2014
A difficult film to watch, but an important one.
November 3, 2013
This movie is rated 40% here simply because most critics lack the capability to appreciate the film's true value.

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.
September 22, 2013
I think it is a great movie that got u thinking.
September 18, 2013
This movie throws a sweet spotlight on a sour chapter in the history of the Chinese revolution. It's valuable material, and well-portrayed cinematically and thematically. Until Adrien Brody and Tim Robbins show up. Pretend you don't see them, with their fakey-Hollywood heroics (Brody) and abyssmal accents (who is Robbins trying to be? German? Dutch? Walloon? Who can say)? For those of us who love Asian history and Asian cinema, we don't need the nod to Hollywood to sell the story...our B-grade actors only cheapen the opportunity to educate, inform, and inspire.
½ August 27, 2013
It is one of the best Chinese movies in the past decade.
July 27, 2013
This gets u up close to the destitution, desperation and helplessness of civilians left behind by war and worsen by famine and corrupt government. Watch it. You'll appreciate the plight of (genuine) refugees.
July 17, 2013
A powerful tale that stretch too long...
Cameron W. Johnson
Super Reviewer
July 15, 2013
"Oh no, we gonna rock back to 1942, and then we'll take it higher!" For some reason, I can't help but think that when I see this film's title, or at least that was the cast until I saw that Adrien Brody is in this film, at which point I began to think about how he couldn't catch a break in 1942 as a Polish Jew, and how he's not likely to catch a break as an American journalist in the middle of a conflict between China and Japan, circa 1942. Shoot, Tim Robbins went to jail in '47, so I guess no one could catch a break in the 1940s, and according to this film, that most certainly includes the Chinese. First it's "Aftershock", a film about the Tangshan earthquake, and now we have this film about the Second Sino-Japanese War, so I guess it's safe to say that if you want a film about the Chinese not being able to catch a break, then you've got to go with Feng Xiaogang, even if you're not likely to catch all that much of a break in American cinemas (Speaking of catching a break, does anyone else want to me to take a break from saying, "catch a break"?). Well, this film didn't do too much better in China, at least compared to "Aftershock", which made ¥665 million, while this film, even with its high profile... in China (Oh yes, and I'm sure you've heard it, roundeye), makes ¥364 million on a ¥210 million budget. Man, 210 million of good ol' ching-ching of both a financial and, well, racist nature, and the effects in this film by the most intelligent nation in the world are still not that good, but then again, ¥210 million is probably "Paranormal Activity" in USD, so I'll let it go. It certainly helps that I find this film to be pretty good, though that's not to say that questionable moments in the effects aren't the only thing that challenge your investment in this film.

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
½ July 12, 2013
Back to 1942 is an interesting war drama about the Japanese people surviving and not eating much thru the war. B-
May 17, 2013
This movie is excellent if you are wanting to learn more about the history of China (war and famine) .... for it displayed a real China, unpleasant, even sad, but real.....
½ April 12, 2013
the truth is even worst than movie. love the filming.
March 29, 2013
I concur with a lack of connectivity but I think a degree of realism doesn't have to be super emotional or filled with particularly overdramatic lovable people if such ideal persons never existed. More importantly it attempts to tell a real story
March 24, 2013
Long drawn out drama on the 1942 famine in Henan province. Somehow, doesn't emotionally connect. Switching between famine, politics and war did not help. The characters we're not interesting enough to connect with.
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