Fortieth. Spirited Away by Hayao Miyazaki (2001)

Spirited Away (2001)
Director: Hayao Miyazaki



I decided that the last film that I should watch is my most loved Asian film of all time! Spirited Away. This movie is indeed enjoyable and after witnessing Princess Mononoke and Howl's Moving Castle, this has once again proved to me that animations produced by Studio Ghibli never fail. This movie and the characters brought about several enchanted feelings within me.

Watching such animation has brought me back to my childhood days where I would fantasize about magical realms and the great power I would be empowered with when magical powers are within reach. However, upon further reflections, I feel that the main message that movies of this genre want to bring across is the importance of one’s growing up phase.

In addition, the change in Chihiro’s character from before entering the magical world to after, leaving the world has left a deep impression in me. Prior to entering the magical world, Chihiro was a spoilt kid, who was dependent on her parents. However, after being trapped in the magical world away from her parents (who turned into pigs due to their greediness), she became independent, capable of solving problems on her own, and also successfully brought her parents and herself out of the magical world. This is a scene that I can relate to, especially in today’s world. In the modern world, parents are always there to guide their children, and provide all sorts of help along the way. And this soon resulted in the upbringing of children who have grown to be used to staying under their parents’ protective wings and are always dependent on their parents. Thus, I do believe that some responsibility and trust should be given to children, allowing them to learn as they grow. Mistakes may be made, but making mistakes are part and parcel of growing up.


Sophie from Howl's Moving Castle?... NAH!!


Litertally =_= face

The progress of the movie was rather slowly and odd at the start, with random characters here and there. However as the movie progressed, the importance of each character was shown and emphasized. Each pieces of a puzzle were introduced and as the story develops, the pieces of puzzle come together to form a magical picture. For example, the No-Face-Ghost that appeared in the earlier part of the movie as a shadow, moved on into the show to become an important character which kept trying different ways to attract Chihiro’s attention. What I felt from this is that different people appear in our life at different time and for different reasons. The only common point of meeting different people is the experience of making new friends as one might not know how important the particular person might be in the future.

I will forever adore this movie for it's creativity and randomness and the spirited realm that it absorbs me into. Once again, from Hayao Miyazaki. (:

Thirty-ninth. A City of Sadness by Hou Hsiao-hsien (1989)

A City of Sadness (1989)
Director: Hou Hsiao-hsien
Award: Golden Lion Award at Venice Film Festival



A City of Sadness describes the kind of unrest, uncertainty and turmoil that happened in post-war Taiwan after the Japanese Occupation. The film is set to the fateful four years in Taiwan history, from the end of Japanese 50-year colonization of Taiwan in 1945, to the ascent of Communist power on the Mainland and the establishment of the Guomindang government-in-exile in Taipei by Chiang Kai-Shek in 1949. After the war, the Taiwanese longed for a peaceful life and the return of their rights to their homeland. However, it resulted in internal struggle and external threats and Taiwan became an extremely dangerous place to be in.

I felt that in the film, the identity of Taiwan is conflicted by the identities of Japanese (nationalist) and Mainland China (communist). It is very sad that a country is torn into two during that period of time. Everyone had different ideologies and were determined to eradicate people who betrayed the country. But then again, who could have betrayed the country when there was no concrete identity of Taiwan to be in? In the end, only the old, young and women who were the vulnerable ones, were not taken away. The use of typology in the film had great meaning and it fills up the empty spaces that the film leaves. We would not know what had happened to one of the characters until Wen-Ching wrote it in his note.



Even though the victim was executed, he knew that his identity as Taiwanese lay beneath and loves his country.

After reading the reviews, I realised that there were a lot of languages used in the film such as Hokkien, Cantonese, Shanghaiese, Mandarin and Japanese. This then reinforces that because of a multilingual society at that point of time, that there were suspicion everywhere. A Japanese could speak Hokkien or Cantonese for any matter and therefore before relied on their own intuition which maligned many innocent people and caused each other suffering. However, the deaf-muteness of Wen-Ching in the film symbolises that the lack of verbal communication, ironically, in fact can allow one to understand another more. In the film, Hou Hsiao-hsien took a lot of long takes of the normal family life such as having meals, washing clothes, feeding the young etc. To me, it felt like there was a surreal kind of peace. In each of the character's mind, they must be worrying or thinking about something. And everyone just eats peacefully and quietly in the dining room. Overall I felt that the film was not very fantastic in terms of melodrama or content. I also had a lot of confused moments while watching it. However, I felt that A City of Sadness was never meant to entertain, it was meant to educate.

[1] Reynaud, Bérénice. A City of Sadness (a monographic study of Hou Hsiao-Hsien's 1989 film in BFI's Modern Classic Series). London: BFI, 2002.
[2] Chi, Robert. "Getting It on Film: Representing and Understanding History in A City of Sadness." Tamkang Review 29, 4 (Summer 1999): 47-84.
[3] Abe Mark Nornes and Yeh Yueh-yu. "Narrating National Sadness: Cinematic Mapping and Hypertextual Dispersion." (a UC Berkerley-based hypertextual multimedia study of the film);
[4] Acquarello. "A City of Sadness" (Annotation of Hou Hsiao-hsien's 1989 film, published by Sense of Cinema)
[5] A City of Sadness (悲情城市 Beiqing chengshi 1989). Retrieved from http://people.cohums.ohio-state.edu/denton2/courses/c505/temp/city.html

Thirty-eigth. Lust, Caution by Ang Lee (2007)

Lust, Caution (2007)
Director: Ang Lee
Award: Golden Lion Award in Venice Film Festival

"To me, no writer has ever used the Chinese language as cruelly … and no story of hers is as beautiful or as cruel as ‘Lust, Caution."

Lust, Caution is not for the faint hearted. The story is full of suspense and cliff-hanging moments, together with brutal sex scenes that actually made me have goosebumps. It was really brave for Ang Lee to be able to produce such a film where beneath every layer of the film there lies guiltiness. Even though as part of the audience, we see the truth, that Tai Tai was sent to assassinate Mr Yee, and that each had suspicion of each other, it turn out to be more engaging for me because while I was watching the film I too had the same kind of fear that Tai Tai would've have when she's on the mission (well, probably the degree of fear is not as much). Mr Yee being a ruthless kind of person who is indifferent to an emotionless person, he is sure on dangerous man to sit next to, or even to have sex with.

Lust, is where both of Tai Tai and Mr Yee share throughout the whole film. As I'm sure of Mr Yee's action, he really wants to own and dominate Tai Tai. But for the female protagonist, I'm not quite sure. She is brave yet vulnerable. But her performance in doing her mission was spectacular, yet so surreal. For the first time they did it, she gave a smile even after Mr Yee had put her through so much emotional and physical pain. Did she really like it? Or she felt that she performed her mission with a good start and is feeling satisfied. Yet, I'm quite sure, from a girl's point of view that her heart was totally broken. In contemporary China, a woman's virginity can only be given to either her husband, or the one she loves. Chia Chi must have felt that she has betrayed herself, but at the same time done honour to her country. But nobody told her that she might fall in love with him during the missionary plan.

What really amazed me was how Tang Wei can switch interchangeably the two different characters that she play in Lust, Caution, as Tai Tai and Chia Chi. When she was Chia Chi, she was so innocent with her hair let down and without make up. Even her expression is gullible. But when she transformed into Tai Tai, we could see her giving out a different seductive aura from before. Her gaze is sharp and full of intent. No wonder it had the emotionless Mr Yee, hooked on her. It was quite weird to see the change of roles of Tony Leung especially after watching In The Mood For Love. He was gentle and then he was brutal. I guess Ang Lee had taken this opportunity to push his actors and actresses to their limit, at the same time, aid us (the audience) in determining who is good in this industry. I liked the film and I didn't like the film. I like it because it was cunning, I didn't like it because this is my first gruesome erotic show that I've watched.

[1] Lust, Caution Movie Reviews. Retrieved from http://movies.nytimes.com/2007/09/28/movies/28lust.html
[2] Review: Lust, Caution. Retrieved from http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/film_reviews/article3122621.ece
[3] Clickety Clack. Lust, Caution Review. Retrieved from http://nymag.com/movies/reviews/38019/
[4] Lust, Caution. Review by Margaret Pomeraz. Retrieved from http://www.abc.net.au/atthemovies/txt/s2099620.htm

Thirty-seventh. Mother India by Mehboob Khan (1957)

Mother India (1957)
Director: Mehboob Khan


This poster strongly reminds me of the crucification of Jesus Christ. Does it have any significant relation that both Radha and Jesus Christ share? Their love and their sacrifice...

After watching Mother India, I felt that the main perception of Radha as a benevelont, loving, righteous and kind personality was resounding throughout the film. In the film, Radha represents an idealized mother in India, and probably the whole of Asia. She is independent, strong and believes strongly in herself and her abilities to make a change. Yet at the same time, she fulfills her duties and responsibility as a mother and a woman in patriarchal society. In the film, I particularly liked the part where she convinced the villagers to stay after a natural disaster (the flood) because she believed that the land can still be retrieved. And as she starts singing, she plows the land with both her sons. The whole song she had a super dramatic face as she expresses herself in front of the villages. But it was cheerful towards the end and I liked the part where Mehboob Khan uses dissolving images to show that time has passed and instead of her leading the plow, both her son were in front of her instead because she's old.

The whole idea of Mother India essentially reminds me the concept of a benevolent mother in The Goddess and To Live. In all cases the situation is different, but the gist of the film is still the same. In whichever catastrophe or even the end of the world, a mother would definitely sacrifice herself for the ones she loved. However is it really true in Mother India? Radha had shot her son, Birju toward the end of the film because he was always creating trouble and stubborn. In the film, she killed her son for the greater good of everybody in the village. But would a mother really do that, even though she knew that her son loved her very deeply. I believe Radha was willing to sacrifice herself (the act of killing her own flesh and blood by herself) for the whole village. I felt that it could've been solved in a less violent and better way, maybe like asking some men to stop BIrju. Maybe there were some virtues in the Indian culture that had made her promise the villagers that she would shoot her own son. Although somehow I felt that Birju was just being the upright person as he only wanted to protect his family from the unequal treatment of the characters in the film. She could have did it because she thinks that it was her own fault that she did not bring up her son well and the village was at stake. Hence, Mother India is a suitable title given to Radha.

[1] Mother India (1957) FILM IN REVIEW; 'Mother India' by DAVE KEHR. Retrieved from http://movies.nytimes.com/movie/review?res=9C03E5DE153CF930A1575BC0A9649C8B63
[2] Mother India. Retrieved from http://www.kamera.co.uk/reviews_extra/mother_india.php
[3] Films Directed by Mehboob Khan: Mother India, Andaz, Aan, Amar, Aurat

Thirty-sixth. Il Mare by Lee Heun-syung (2000)

Il Mare (2000)
Director: Lee Heun-syung



I think it is quite interesting and touching to see how two simple lives cross path. In life, we never know when one day our life will cross path with someone else who have a great impact on us or whom we will have great influence on.

The movie shows how two strangers can feel for each other and fell in love without meeting each person in real life before. In reality, can two strangers really fall in love without seeing each other? The media today, such as Facebook, MSN and virtual chat rooms, allows people to ‘meet’ and keep in contact with friends and even strangers. There are news article on how two people can get ‘married’ and ‘divorce’ in the virtual world. The effect of the virtual world interactions has both its positive and negative sides. Those who are too engrossed in it can be in illusion and be detached from the real world. The worst scenario is when some result in suicide after a ‘failed marriage’. In addition, people can gradually lose their ability to communicate properly during face-to-face interactions, losing the humanity touch. This can be a serious issue as people are increasingly relying heavily on technology in their everyday lives.

In comparison, the virtual interaction can also reduce social problems such as HIV transmission. Unlike the older generations, man and woman nowadays can be less conservative and the spread of HIV and other sexual diseases can be problematic. Assuming that people like to ‘meet’ in virtual world more often, it will reduce the chance of actual interaction and any possibility of disease transmission.

In conclusion, I do like the movie with the twists in the storyline. The movie also leads me to ponder about the issue of time-travelling and how things can change if we can know our future in advance. Perhaps, it is still better to let nature takes it course and have the chance to be surprised and enlightened by the things that are going to happen in life. Only when we cannot foresee the future, we can then work hard and not regret our decision at any point of time.

[1] Il Mare. Retrieved from http://www.spcnet.tv/Movies/Il-Mare-p206.html
[2] Il Mare Review. Retrieved from http://www.mediacircus.net/ilmare.html

Thirty-fifth. The Leap Years by Jean Yeo (2008)

The Leap Years (2008)
Director: Jean Yeo



The story starts off with the main lead actress asking the lead actor out, on the 29th of April, on the day where man are not supposed to reject any invitation from woman based on an Irish tradition. I don’t know if the tradition is real but I find this tradition rather interesting. While watching, I attempt to put myself in the same situation and think about what I will do. The very act of a woman asking a man out is something I will not picture myself doing, though I can imagine quite a number of more open-minded women nowadays will do so just like the main lead actress. I see this as an act of woman gaining access to power and to be in control. Being a female, that is why there is a part of me within that actually approve of this tradition.

In addition, I am not a believer of long-distance relationship and not to say only being able to meet once every four years. I guess what occurs in the movie is true love? In general, I find the movie rather interesting and sentimental.



[1] The Leap Years. Retrieved from http://www.imdb.com/title/tt0470420/usercomments
[2] The Leap Years: Review. Retrieved from http://createlevoyage.com/backstage/visualarts/2008/05/film-leap-years-by-mediacorp-raintree.html

Thirty-fourth. The Iron Ladies by Yongyoot Thongkongtoon (2000)

The Iron Ladies (2000)
Director: Yongyoot Thongkongtoon



The story plot of Iron Ladies is quite typical just like any underdog film that manages to rise up against all odds. But it addresses a taboo issue of homosexuals and transvestites especially in Thailand. It is familiar in terms of its early setbacks, the recruitment of misfit volleyball players and almost the whole team leaving because of homosexuals. It is also unfamiliar because of the transvestites. At the same time, we all know that Thailand is famous for its transvestites and homosexual community, therefore the Iron Ladies relates to us for it's country, language and changing culture. The story is based on a true volleyball team that all of them were gays and they actually fought and won the volleyball national championship.


whooop!...

Personally, I had to admit that gay is not a thing for me. I would find it very strange to see two gays making out and such in public or even in films (Brokeback mountain? I've not watched it before). Thanks to Iron Ladies, it sparred me this idea of gays to a point that I feel even in a life of a transvestite, some of them don't even engage in sexual relationships with another. They just love to oogle at themselves in front of the mirror, and be like a girl. There was absence of sexual connotations which made the transvestites in the film kind of pure and innocent. And together with humor elements, it makes us think that 'Hey, maybe gays aren't bad in anyway...'. Iron Ladies show the kind of fierce fight even 'ladies' have mentally. Well, of course they do have some sort of physical masculinity, but it shows how a group of feminine personalities go against their whole world and be able to prove for their whole community that they are just as good as anyone else. To that, I can consider it... GIRL POWER! YEAH!

[1] The Iron Ladies (2000) FILM REVIEW; A Thai Volleyball Team That Vives Its Différence. Retrieved from http://movies.nytimes.com/movie/review?res=9D02E4D81339F934A3575AC0A9679C8B63
[2] The Iron Ladies. Retrieved from http://www.polfilms.com/ironladies.html
[3] The Iron Ladies by Roger Ebert. Retrieved from http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20011019/REVIEWS/110190302/1023