I’ve been doing some cataloguing lately, trying to organize my books and movies and make some kind of plan for how I’m going to attack the Chinese Cinema over the next year or so. Three and a half years ago, I started a chronological Johnnie To project that, by design, immediately ballooned into a comprehensive exploration of Chinese-language film. In that time, I’ve made it seven films into To’s career and 327 films into China in general. It’s increasingly absurd to consider it To-specific, and I’d love to rename it (I never liked the name anyway) but the prospect of renaming and tagging all those old posts is daunting. Anyway, I’m hoping to spend this year taking a long look at Shanghai cinema of the 1920s-40s (at least as much as is available) and Hong Kong films of the 1950s. As well I’d like to catch up with the rest of the films I haven’t seen from Filipe Furtado’s letterboxd list of Favorite Hong Kong Films, which has served as an essential guide for me since the Summer of Sammo. And as I was thinking about where to go next, I thought it might be useful to sum up where I’ve been, and so here’s a list of 150 great Chinese films. The list is ordered chronologically.
“When we are young, we learn the myths. And we interpret them as we get older. After all, we see they are just myths.” – Lu Haodong
“Gods are useless. You must rely on yourself.” – Wong Fei-hung
“Vigorous when facing the beatings of ten thousand heavy waves
Ardent just like the rays of the red sun
Having courage like forged iron and bones as hard as refined steel
Having lofty aspirations and excellent foresight
I worked extremely hard, aspiring to be a strong and courageous man
In order to become a hero, One should strive to become stronger everyday
An ardent man shines brighter than the sun
Allowing the sky and sea to amass energy for me
To split heaven and part the earth, to fight for my aspirations
Watching the stature and grandure of jade-coloured waves
at the same time watching the vast jade-coloured sky, let our noble spirit soar
I am a man and I must strive to strengthen myself.
Walking in firm steps and standing upright let us all aspire to be a pillar of the society, and to be a hero
Using our hundredfold warmth, to bring forth a thousandfold brilliance
Be a hero
Being ardent and with strong courage
Shine brighter than the sun” – “A Man Should Strengthen Himself”
In some quarters seen as superior to the first film, perhaps because of its tighter focus (only a few main characters, including a recognizable to the West historical figure in Sun Yat-sen), specific historical moment (set in September 1895 at the beginning of the Boxer Rebellion, as opposed to the vague late 19th century of the first film), and the presence of Donnie Yen (his second attempt at stardom, after supporting roles in a handful of films in the late 80s). I appreciate the grander sprawl of the first film, however.
Tsui Hark is the John Ford of Chinese cinema, and Once Upon a Time in China is his Stagecoach. Not only does it redefine a genre on the cusp of its rebirth (in this case the period martial arts film, which had lain dormant through the late 80s much as the Western had been relegated to cheap serials through the 1930s), but it expresses a total historical vision entirely through archetypes, which are by turns deepened and confounded. Much has been made of the film’s nationalism, an apparent sharp turn from the more scathing works of Tsui’s New Wave films, but like Ford Tsui’s patriotism is more complex than it appears on the surface.
So Jiang Wen made a Wong Jing movie. . .
I saw the Thai DVD, which is the first version I’ve seen that has English subtitles. The running time is 119 minutes. Wikipedia and IMDB give it a running time of 140 minutes, with a 120 minute international cut, while Screen Daily‘s review from the Berlin Film Festival says it’s 134 minutes. I have no idea what’s been removed for this international cut, but I doubt the added footage would make the movie any more or less coherent.
Jiang plays a conman in 1920s Shanghai. In an opening parody of the first scene of The Godfather, he agrees to help the youngest son of the local warlord general launder his money. To do so, he spends it all on an extravagant pageant to crown the Best Hooker in Shanghai, complete with musical numbers (“a song so new Mr. Gershwin won’t even write it for ten years!”), fireworks, live radio coverage around the world and Shu Qi offering to sleep with 30 rich men in 30 nights and give all her proceeds to the poor. Shortly thereafter, she proposes to Jiang (they are old friends and lovers), he tries to talk her out of it in a melange of artificial sets and dizzying cutting (every line gets its own shot, the effect of which, given the screwball pace of the exchanges, is something like watching a Baz Luhrmann movie on amphetamines), culminating in an opium dreams of a wild musical car trip. The morning after, Shu Qi is dead and Jiang spends the rest of the movie on the run, accused of her murder.
When Film4 published a list of their “100 Must-See Films of the 21st Century” and only bothered to include two Chinese films (Yi yi and In the Mood for Love, of course), I countered with this list on letterboxd of 100 Must-See Chinese Language Films of the 21st Century. Almost two years have passed since then, and I’ve been wanting to update that list, since honestly I was kind of stretching the limits of what I’d recommend when I got into the nineties. Well, yesterday came The Playlist’s list of The 50 Best Foreign Language Films of the 21st Century. Five of the films on their list are Chinese Language (the same obvious Edward Yang and Wong Kar-wai picks, along with Hou Hsiao-hsien’s Millennium Mambo, Tsai Ming-liang’s What Time is It There? and Ang Lee’s Crouching Tiger, Hidden Dragon. That’s right: no Johnnie To.), and while they’re somewhat hampered by their self-imposed one-film-per-director rules, that, to me, is still an unacceptably low number for what has been and continues to be the most vibrant and fascinating film culture in the world. And today, Richard Brody’s response in the New Yorker, while an improvement in making room for Jia Zhangke and Wang Bing (and Korean director Hong Sangsoo), still has only seven Chinese titles.
So here are my 50 Best Chinese Language Films of the 21st Century. I’m limited in making this list by the movies I’ve seen, and there are still many, many Chinese films I haven’t watched yet. I’m also sticking with The Playlist’s rule and limiting myself to one film per director (in the case of collaborations, I’m counting them as separate directors: Johnnie To and Wai Ka-fai together is a different director from either Johnnie To or Wai Ka-fai individually. This is arbitrary of course). The movies are ranked in order of my current preference, with links to where I’ve written about or discussed them, along with, in some cases, no more than five other recommended films by the director.
A couple months ago I was asked to write this brief overview of the state of contemporary Chinese language cinema for the Estonian arts magazine Sirp. You can read this essay in Estonian on their website, and here, with their kind permission, is the original English language version.
Long one of the most vibrant and diverse film cultures in the world, the landscape of Chinese-language film has shifted dramatically over the last few years. Beginning with the handover of Hong Kong to Mainland China in 1997, the previously separate industries in China, Taiwan and Hong Kong have become increasingly enmeshed, and with the rapid expansion of theatrical exhibition on the mainland and an economic boom that has opened up a massive potential audience, China is set to overtake the United States as the largest movie market in the world. Chinese companies have begun investing heavily in Hollywood productions, while American companies are seeking closer ties with their Chinese counterparts. A Chinese company (Wanda) now owns the largest chain of exhibitors in the US (AMC Theatres), as well as an American production company (in January of 2016 they purchased Legendary Entertainment, producers or co-producers of Jurassic World, Blackhat, Pacific Rim and Christopher Nolan’s Batman films, among other blockbusters). Warner Brothers recently launched a new production house in cooperation with Chinese company CMC to remake Warners properties like Miss Congeniality, and release original films from veteran Hong Kong filmmakers Peter Chan and Stephen Fung along with Jackie Chan and Brett Ratner. CMC also has a joint venture with Dreamworks Animation, Oriental Dreamworks, which released Kung Fu Panda 3 this past January. Complicating this vast influx of cash into film production is China’s oft-arcane system of censorship and import quotas, which limit the kinds of films that can be shown in the nation’s theatres, as well as a tradition of gaming the system, if not outright corruption, in box office accounting. In the past few weeks, widespread fraud in the reporting of the grosses of Donnie Yen’s Ip Man 3 was discovered, leading to punitive action against the film’s local distributor and participating exhibitors.
With this dynamic and rapidly developing film culture, trying to predict what Chinese-language cinema is going to be like in five or ten years is a fool’s game. Instead, by taking a snapshot look at a few examples from the past year, we can get a sense of where the culture is at right now. From The Mermaid’s astounding box office success, to Go Away Mr. Tumor’s unique disregard for generic expectations; from Jia Zhangke’s idiosyncratic move toward the mainstream of the international art house with Mountains May Depart, to Bi Gan’s microbudgeted, experimental and defiantly local debut Kaili Blues, Chinese cinema is one of the most financially lucrative and aesthetically innovative cinemas in the world.
Running Out of Karma is my on-going series on Johnnie To, Hong Kong and
Chinese-language cinema. Here is an index.
For his final film before launching the Milkyway Image studio, Johnnie To took a super-generic script, applied a Steven Spielberg visual aesthetic, and almost made an FW Murnau movie out of it. A rarity for To, a period film, a romance set during the second World War, with Andy Lau as a pilot who crash lands in a remote village and is nursed back to health by Jacklyn Wu (these two stars are the only connection to the other A Moment of Romance films: in Hong Kong, spiritual sequels can be numbered as actual sequels, they need not be in any other way related). They fall in love and when he returns to the war effort, she follows him to the big city, splitting the film neatly into country/city halves like Crocodile Dundee.
Running Out of Karma is my on-going series on Johnnie To, Hong Kong and
Chinese-language cinema. Here is an index.
A straight-to-Netflix multinational English language collaboration that is the sequel to the highest-grossing foreign language film in American history, Sword of Destiny reunites star Michelle Yeoh with the action choreographer from the first film, Yuen Woo-ping. Belonging more rightly to the CGI-driven Chinese wuxias of the 2010s (and the cheaper ones at that: it’s more Reign of Assassins than than Journey to the West: Conquering the Demons) the digitally-aided filmic art house wuxias of the early 2000s, the new film is worlds apart from Ang Lee’s original, and that’s, as much as anything, the difference between Lee and Yuen. What made the first film truly great is the combination their two sensibilities: Lee’s character-based approach to personal drama, romantic relationships constricted by social rules reflected in carefully composed, controllingly symmetrical compositions added to Yuen’s gorgeous choreography, every movement of the actors and stunt performers motivated by an ideology of fighting, reflecting their personalities, their worldview (Chow’s patient precision, Cheng’s wild flailing, Zhang’s exuberant virtuosity, Yeoh’s passionate intellectuality).
With the highly-anticipated release of two King Hu masterpieces on home video by the Masters of Cinema organization, as well as the critical success of Hou Hsiao-hsien’s The Assassin last year, it seems like the wuxia film is making some inroads into the Western critical consciousness. So I thought I’d put together a guide to some of the essential films of the genre. The Chinese martial arts movie is generally split into two primary subgeneres: the kung fu film and the wuxia film. The kung fu film is newer and focuses primarily on hand-to-hand combat, it’s steeped in traditional fighting forms and there’s a general emphasis on the physical skill of the performer: special effects are generally disdained. Bruce Lee and Jackie Chan are its most famous practitioners and Lau Kar-leung its most important director.
Wuxia is a much older form, based ultimately in the long tradition of Chinese adventure literature, in classic novels such as The Water Margin or Journey to the West, or more contemporary works by authors like Louis Cha and Gu Long. Its heroes follow a very specific code of honor as they navigate the jianghu, an underworld of outlaws and bandits outside the normal streams of civilization. Wuxia films often incorporate fantasy elements, using special effects to allow their heroes to fly, shoot concentrated chi energy out of their hands (or eyes) and in other ways violate the laws of physics. Strictly speaking, wuxia should probably be confined to stories of code-following traveling knights-errant, but genres are a fluid and conventional thing, especially in Hong Kong, where films regularly mash together comedy, action, romance, melodrama and horror elements into a single impure whole, and as such, stark lines are difficult to draw. King Hu and Tsui Hark are the essential wuxia directors, and Jet Li, Ti Lung and Jimmy Wang Yu the genre’s greatest stars. The following is a list of 30 of the genre’s highlights, taking a reasonably expansive view of generic boundaries and arranged in chronological order: