A Spaghetti Monster To Bridge The Ever-widening Chasm From HERO to HOUSE OF FLYING DAGGERAS, the reputation of director Zhang YiMo has been persistently and severely bombarded with a fusillade of invectives at home and abroad, all the critics are pointing fingers at Zhang's pedantic and unsuccessful insistence in combining both the commercial elements and artistry ,evetually director Zhang awakens to the realization that only serene yet powerful drama rather than a kind of courteous kitsch like KongFu movies is commensurate with his talents and can restore his dying fame.
QIAN LI ZOU DAN QI ( the lonely emissary in a thousand mile would be its literal translation) is the typical embodiment of all director Zhang's inimitable cinematographic skills and the stark views of Li river. the whole movie is inexhaustible in symbolism and director Zhang develops a predilection for slowness ,just like his other movies, for example, KEEP COOL, NOT ONE LESS,JUDOU... etc. The story is based upon a true one about a Japanese father taking care of his moribund son, who was bent on studying opera,intends to fulfill his son's last dream that is to learn opera. In the course of their rigorous quest, they meet a Chinese girl who later is chased after by hoodlums, the bizarre trio bond together and escape the prosecution from both countries.
QIAN LI ZOU DAN QI is the quintessence of underdogs thrown into turmoils,transcending adversity and reaping happiness ever after, such genre is director Zhang's forte. Dating back to the last century, the partnership of Zhang and Gong Li gave birth to a legion of typical ZhangGong-esquire movies such as RAISE THE RED LANTERN which is my personal favorite, THE STORY OF QIU JU, TO LIVE,etc.. Thus this one doesn't stray away from the path . You can still feel Zhang's aggression towards inequality, officialdom, unnecessary suspicion amongst people,vividly. ONLY this time it's somehow misplaced.
the screen-scripts of QIAN has been in gestation for five years and during the period Zhang has produced blockbusters like HERO and THE HOSUE OF FLYING DAGGERS. This time instead of casting renowned Asian actors repeating hoary tricks, QIAN casted little known actors to shoulder the responsibility of displaying grace under pressure. Ken Takakura playing Takada, fisherman, did an awesome job, he amazingly used his facial expressions and silent body gestures to reflect his pains, most time he is reticent about his past and don't resort to old-fashioned misty-eyedness or implausible frowns like many Asian actors still practice. Due to his taciturnity, he makes his portrayal of the sorrow-stricken father impressive. Kiichi Nakai playing Kenichi, Takada's ailing son , is no less wonderful and his performance and the effect of makeup synergistically convince people he is being seriously traumatized.
In the meantime,Zhang conveys the alienation inside the relationship - and the alienation outside - (I am referring to the fact that they are in a different country) through colors and camera-movements. We are constantly looking at the protagonists from a corner high above or through the window of a teeming street. Every single shot feels claustrophobic and it irritates the viewer. It makes the viewer long for closeness and clarity. It imitates the longing of the characters and their attempts - and failure - at connecting to each other. Their feelings, as does the eye of the lens, float above them in a silent, detached loneliness. Having said that, this movie isn't immaculate , director Zhang is not in his prime, so i consider it's unfair to juxtapose his recent works with his heyday success, QIAN still lacks originality and the whole plot remains nebulous as always. Zhang wants to depict darkness in the society while through intentionally using a wholesale of bright and roseate colors. Such contrast can be found in his former works,but highly unlikely his former glory, the theme of this movie is no longer appropriate for the spaghetti effect,you will not be surprised to taste bitterness and vacuity in his movie.It's not a entertainment enjoyment for everyone, i would recommend it to people with a penchant for symbolism and a propensity to dig pungent individualism.
8/10