Yang Zhang's film 'Sunflower' explores the changing face of China over thirty years, seen through the prism of a stormy father-son relationship. The authority of family has always been important in traditional Chinese culture, so this is a believable conflict in a story of China entering the modern age. However, the movie is not especially subtle, the father figure does little more than assert that others should do what he asks them, and the use of Western music is disappointing, it doesn't feel like the soundtrack of these characters' lives. I still enjoyed the film, the story is never forced and it gives one a flavour of how one might imagine life in China to be. But at heart it's a conventional tale.
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paul2001sw-123 December 2007
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ahua2178 March 2006To every son,father plays an important role in his life. To every father,son is his hope and imagine. When the father lost his own dream of drawing,he placed the unfinished dream to his son,with the faith that it's good for the son.However,the son didn't understand the father's doing.He was prevented from playing with his young fellow,and since then,it's hard to drop the hateness to the force from his father.
The huge changes of the China society is clearly expressed throughout the movie.Every Chinese family was developing contemporarily.The father and the son were growing up as well.But the relationship between the father and his son,is still complicated.The love is always companioned with pain.Maybe everybody has a similar experience with this.
It is said that the inspiration of the movie at first come from a letter from the director's father.The letter used to make the director and all the crew cry.Watching the movie,I could appreciate the sincere heart of the director,especially during the portray of the childhood.
The movie was both opened and ended with sunflowers,which,I think ,may mean the forever beautiful bless from the father to his son,his blood-linked imagine.The feeling of watching the movie,is just like that of browsing old pictures in a family album. Those memories are sweet as well as sad.When everybody understand each other,the parents' hair has become white,and the old architecture has been broken up. -
johnnyboyz21 March 2008There are two scenes in Sunflower, a rare Chinese gem of a film, that genuinely made me feel that 'choke' you get when you're seeing something in a film that you know emotionally affects you in some way. The scenes are simple and seemingly unexciting on paper: a girl ice-skating as a male admirer sketches her and an apparent stray cat 'returning' to where it once lived. But to have two scenes that are indeed so simple on paper work so well in a film and be able to get that reaction, is a great achievement. Part of the reason you get this reaction is because of what Sunflower does in the preceding events leading up to these scenes.
I think to say this is the Chinese 'Forrest Gump' is a little too incorrect but immediately coming away from this film, it would be easy to label it so. Whereas Forrest Gump had a certain 'lack' of a father figure, it is the father figure that plays an important role in this film mostly in the opening third but it has an effect on events thereafter. Sunflower splits its narrative up into three chapters; something it borrows from American cinema, for sure, but it has that theme of 'authority' running through it throughout. Often this authority is channelled toward Xiangyang (who is portrayed by three actors at different ages) but the mother will also exercise her anger and authority when the family are turned down a flat for themselves and the father in question spends several months away at a Communist run camp in the 1960s a place where authority is rife and anger is taken out on its inhabitants. It is also because of this camp visit that makes the father so authoritarian toward his son as his artist 'living' is ruined and thus; wants his son to go down the route instead.
It would not surprise me if the film was loosely based on some real experiences that the screenwriter might have gone through. The opening chapter takes place in 1967 where the film revolves around a nine year old Xiangyang and his struggling relationship with his father. During this segment, Xiangyang experiences an earthquake; a military coup following the death of a communist leader and an actual gathering in the town square featuring all the kids as they watch a film projected onto a makeshift screen. Such authenticity, especially the last example, and attention to detail as we have the world in which these character inhabit pointed out to us earthquakes and how they affect characters; the end of regimes and how the consequences of the celebrations can impact on them.
With these three segments set during different years, we really get the feeling that time has passed because with the attention to detail such as the examples above, the atmosphere that various different things happen at various different times that do not further the plot help in the progression of character relationships. The second segment happens in 1976 and sees the greatest progression in its characters. The ice-skating scene is, as I've mentioned, one of the more beautiful scenes in the film for a number of reasons. Firstly, there is the framing which gets closer and closer to the figure as they skate and Xiangyang draws he is getting each detail he wants as we systematically see her in a closer fashion. What's more, the framing does not suggest he is watching her in a manner that represents the 'gaze' because it is impossible for a human being to see an item at one distance and then at a closer distance without physically moving something Xiangyang doesn't do. The music and poetic movement of the skater aids in the effectiveness of the scene.
One of the more remarkable things about Sunflower is that it feels epic and this is without any cheap gimmicks or special effects. If the film has any sort of flaw, it is that the final chapter revolves around a domestic situation that is whether or not the couple that is Xiangyang and Xiuqing (Chen) should have a baby. This plot path feels a little familiar but it is supported very well by its constant theme of authority when the parents would like them to have a child. But, the disturbing undercurrent here is that they obviously are not able to realise their son is old enough to make decisions for himself. But the final third opens the eyes for other reasons: we are allowed out of the boundaries of the neighbourhood; we get glimpses of the big city and all the mise-en-scene that accompanies it such as motorways, skyscrapers and Xiangyang suddenly driving around in a jeep. It seems his artistic creativity has been furthered and a leak in a pipe adds to the series of outside agency events interfering with the character's lives. Sunflower is not your typical Far East production that relies on martial arts and beautiful cinematography like a Yimou Zhang film might nor does it resemble a John Woo film. Instead, Yang Zhang directs a touching and straightforward film that touches and captivates whilst remaining entertaining. -
Hunky Stud5 August 2009Since there are only eleven comments, so I felt the need to write another one.
The acting are pretty good, especially the mother and the father. The makeup is bad for Joan Chen when she was supposed to be an old woman. It was quite obvious that she was wearing a wig. And the wrinkles on her face looked bad, too. On the other hand, whoever did the makeup for the father did a good job. The father looked right about his age.
The ending was kind of strange. I don't see a reason for the father to disappear all of sudden with no particular reason.
This movie is over 2 hours long. It is just too long. During the 30 years, many major political events happened right in Beijing, this movie did not mention any of them. Of course, it is understandable because the Chinese "socialist" government has a strict censorship. When will the government gave up its strict control on artists' creativity? We can only imagine how many wonderful artworks, movies could have been presented to the world. Whether they tried to avoid those political events or simply didn't care to mention them, that directly affect the movie, it made it too flat. There was no major ups and downs. There was no single moment which make you want to cry or feel happy for them. -
The English Name for this movie is Sunflower. I saw this at the Toronto Film Festival.
This was a thoughtful piece of work and is definitely worth a look for an insightful dramatic tale in a Chinese setting -- with both family and society as key themes. I hope more movies like this get made!
The story takes us through the life of an urban Chinese family -- the father becomes the art teacher and disciplinarian for his 'want-to-have-fun-with-the-town-kids' son. In broad strokes, we see the clash of father-son wills as each tries to get his own way. But the conflict is born out of an emotional pain as father's hands were crushed purposefully during the cultural revolution -- to prevent him from drawing anymore. How much more awful can you get? As the movie fast-forwards through time, we see the broad strokes transform as both son and father grow and continue their journey through life -- more conflict, more of an interesting view on the life they're going through. The artwork in this movie speaks volumes. The Sunflower imagery is moving. I'm choking up as I write this.
FAMILY: The director was present and commented how society is based on family, and hence how looking at family relationships really allows you to examine society. For some reason, the close-up look at a family worked really well for me. Very nuanced writing and direction.
EVOCATIVE OF REALITY: The timing of the key story events rooted in recent history made this story really come alive for me. As society influenced the characters, the characters reacted to society. This really gave the story a fresh dose of reality and gave me what really felt like a true insider's perspective on a set of experiences growing up in China.
For me, this story made me reflect on my own family, my own life, and force me to examine some choices I've made in my past. It was a tad long, but still worth the time. -
pamelala-126 May 2008Sunflower is everything a first-rate film experience can be. It is a moving and wonderful story and beautiful to watch. It engaged me in every moment. The music is perfect, the casting and acting uniformly outstanding, the technical and aesthetic skills and intuitive choices of the writer, director and crew all add up to a superior artistic and emotional experience.
The story of the struggle between a son and his father is universal, (but not always limited to sons). The historical, familial and societal structure in which the action takes place are uniquely Chinese. It is a multi-leveled experience to watch; the deeply personal, the historical/societal and the universal. To one degree or another, we can all relate to or have engaged in behaviors that take place in the context of this story, with friends as well as family.
It is food for lingering thought and conversations about families, China, and how we are affected by the rapidly changing societies we live in.
It is, as the person who sat behind said on his way down the aisle, "Well, that's one of the best movies I'll ever see." I agree. -
bluebuxton30 January 2008I recently watched this brilliant piece of cinema and was blown away by it. It takes us on a 30 year journey from a boy to man and his relationship with his parents, especially his father who was sent to a work camp during Mao's cultural revolution and returns when the boy is seven. From this point in time father and son clash as to what each one expects of the other. The interpersonal relationships between father and son, mother and son , husband and wife and the friendship between the father and his neighbour are just wonderful. This film shows us that throughout the world father's and son's encounter the same dilemma's and parents have the same worries about their children where ever they live in the world. Superb. Well worth watching. It is beautifully shot, the screenplay is great and the acting is fantastic. What more could you want.
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heyunzhi198326 October 2005I was born in 80'S in China but love displayed in this film still moved me for the same experience of my past when I grew in my aunt's family and there something gap between me and my relatives. So it's a better reflection of real life even than the zenith sort of film.
Joan isn't dealt with Hollywood's A-budget films for her independent film spirits. And here Joan is precisely show her talent of acting for this mother's features even with her whole body and every organ sensitively though it's little pity her scenes are not that many.
It's too bad for me that I could not comment on it with words, and as Chinese I appreciate Joan Chen.I hope I can see more and more good films for us. -
battlefield194430 October 2005reason 1, no one like this man ,he is too fast to become a artist.he learn from his father,we do not know his father's level.no process,no exercise ,there's nothing to explain.we just know he always want to play.finally,he succeed.
reason 2,XiangYang's first lover.they are fall in love for no reason.like reason 1.they have seen each other,then they love each other,just because she find out XiangYang sketch her.soon she help him escape from the police.that's impossible in 1987's china,even in the near future.
reason 3,the whole film is empty of ideal.Xiang Yang's father give him a ideal,he hate it.he just want money and women.what a pity!no ideal,is this what ZhangYang want to tell us?
I was born in 1982.My elder brother was born in 1976.the director make believe the situation in Beijing during the Tangshan earthquake.
in a word,the film tell us so many things,but no one explain clear. -
qiuchen8 May 2006Love from father is not so obvious as compared to that from mother.
The 60s-90s scene background always makes me to remember my own childhood and the days with my father.
We could experience the love from father in each common day, but those days with summer sunlights would never return.
As father in the heaven, would never come to my side any more.
I do miss you , Dad. And I'll be a man and be strong.
I really can't help tearing when the film ends with the word "To all the fathers".
Thanks to the director and the actors/actresses for such an excellent film. -
lastliberal5 July 2008It is so easy to see this film as a glimpse of China during a period of upheaval. We see the events of the era, notably Mao's death, the Gang of Four and their downfall, up to the era of small- and later large-scale capitalism. Focusing on changes in society and the impact on families, particularly one, in a small village causes us to lose sight of what this film is really about.
Torn from his family and sent to a reeducation camp, Gengnian is determined to make up for the time he lost (six years) as a father. Like many fathers, and I include my own among them, he feels the need to be firm and instill discipline in his son; to guide him in the direction he "should" go. In this case, it is painting. You see so many American fathers in Gengnian, especially those who are children of the depression. You also see those fathers that live vicariously though their children and push them to excel even without asking if this is what they really want.
The film gives us a glimpse of a changing China, but we also see family interaction in a way that we are not familiar with, and that alone makes it worthwhile. But, it is not a documentary; we should focus on our relationships with our fathers and sons, and we certainly will if we allow ourselves to be drawn into the film.
Yang Zhang has given us something to really think about. With brilliant cinematography by Jong Lin (Bend it Like Beckham, Eat drink Man Woman), and an amazingly good performance by Joan Chen as the materialistic mother, it was a real treat. -
Buddy-515 October 2009Set in Mao's China, Zhang Yang's "Sunflower" is a tender and touching family drama that spans five decades, from 1967 to 2000. Xiangyang is only a baby when his father, Gengnian, an aspiring artist, is thrown into a "re-education camp" on a trumped-up charge of disloyalty to the state. When Gengnian is finally released and sent back to his family, Xiangyang is a nine-year-old boy with no memory of his dad and no interest in following in the old man's footsteps as a painter. This sets up an ongoing conflict between father and son that extends well into Xiangyang's early adulthood.
"Sunflower" is a subtle, thoughtful, deliberately paced look at just how much influence a parent can reasonably be expected to have over the life of a child, as Xiangyang comes to realize that until he can get out from under the thumb of his father, he has no real hope of ever becoming a fully independent man in his own right. For Gengnian, it's a matter of learning that he can't simply transfer all the thwarted and unfulfilled dreams he once had for his own life onto his son without eventually robbing the young man of his independence and breaking his spirit.
The screenplay is scrupulously fair to all parties as it astutely explores the universal truths of filial relationships - with unmannered performances and self-effacing direction adding greatly to the naturalism of the piece. -
poe42627 October 2008Life has all the answers; sometimes, unfortunately, they're not the answers we were hoping for; but the Truth will out, in the end. The suffering chronicled in SUNFLOWER is absolutely Universal in nature- take it from someone who knows first hand-, but so, too, is the depth of feeling and the ties one feels to the past (whether a place or a period of time). I'm reminded, for some reason, of a quote from Mary Shelley's FRANKENSTEIN (it may just be the season, but the quote's a good one): "Destiny was too potent, and her immutable laws had decreed my utter and terrible destruction." It certainly seems that way, more often than not, and, the older I get, the more convinced I become that that quote needs to be carved in stone somewhere.
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dromasca10 April 2010The key scene of this wonderful film about a father-son relationship happens towards the end. The father, a former painter whose life and career were crushed by the political troubles of the Cultural Revolution that China went through four decades ago visits the newly opened exhibition of his son's paintings. He walks through the paintings which like in a time travel bring back the emotions of his son uneasy growing up. Then he stops in front of one work, representing the double portrait of child with blurred features and huge deep hunting and hunted eyes near the portrait of a man whose traits are hard to distinguish, hidden like by fog. The two portraits seem unrelated, but yet we feel that the boy's uneasiness is related to the man's portrait absence of clarity. The visiting father sits on a bench. Then his son joins him. Without a word the father extends his hand to his son as a sign of congratulation. It's almost the only sign of father to son tenderness in the whole film.
As many good movies 'Sunflower' can be read and interpreted at multiple levels. It is the story of a relationship between a father that is taken away from the child to find him back nine years later, a father who tends to dominate and control his son's life beyond 'normal' father to son care, in an attempt to realize through his son's talent and artistic training the destiny that was refused to him because of the convulsions of history. At this level the film is wonderfully helped by a team of actors were Bin Li and Joan Chen have the leading roles of the parents, and three different actors represent the phases of development of the boy, with Wang Haidi playing the key mature period. Another reading goes beyond the immediate dialogs and makes us reflect to the relation between individual and history in a country which underwent such profound transformations as China did in the last half century. History and politics play all the time a role in the film, they are present in the background even if politics are not openly discussed. A radio or TV set seem to be permanently open, family relations or lodging depend on low scale policies, and the very premises of the film are derived from a huge political event. On this perspective the relation between father and son may become a symbol of the relation between the older and newer generations of China, a country were new ways find their place and replace the older methods in economy and in the life of its citizens. In a country and tradition were elders are respected and order is the supreme governing principle, the story of a rebellious son has a stronger connotation. The title itself can be interpreted in multiple ways - the presence of sunflowers in the action is paralleled by a picturesque resemblance of the flowers brought on screen with the famous sunflowers painted by Van Gogh, the supreme master of art rebellion.
At the end the father disappears completely from the life of his son, making him absent at the childbirth of his grandson in what seems to be a gesture of supreme sacrifice knowing his obsession with the life of his son continuing ans repairing his own life and the destiny of the previous generations. Yet, sunflowers are present, and we feel that in the life and spirit of the new generations there is a lot of what the elders induced. An almost Confucianist conclusion to the story of the relation between father and a rebellious son.