Movies - Foreign postsFriday September 08, 2017
'Wolf Warrior II' Kicks Ass in China
Leng Feng: Wearing the flag on his sleeve.
I have another piece up on Salon. Apologies in advance for all the ads on the site—there's a story in there somewhere.
The story is the massive box-office success of “Wolf Warrior II,” a Chinese production that opened July 27 and has thus far grossed more than $850 million worldwide—good enough to become the first non-Hollywood movie to break into the top 100 movies in terms of worldwide box office. It's 57th with a bullet. And almost all of it ($848) from China alone. It hasn't traveled well but it hasn't needed to.
My piece is about why it might have gone into the box-office stratosphere the way it did. Was it word of mouth or was it a presidential loud mouth? Our president, not theirs. It's actually fairly intriguing and required a bit of digging.
I'll have a review of the film up in the next week. Basically “Wolf II” is a not-bad version of a kind of movie I don't like: It's “Rambo”ish. Its slams at America are interesting to watch but its portrayal of local Africans is beyond problematic. You have work to do, China, particularly if you want to rake in the money internationally.
Hollywood to Remake Audiard's 'Un Prophete'
Columbia Pictures and parent company Sony Pictures Entertainment have optioned the English language rights to remake “Rust and Bone” director Jacques Audiard's much-celebrated 2009 French crime thriller “A Prophet”...
Be prepared for a mainstream Hollywood remake, because the English-language version of this super-gritty piece of cinema realism will be produced by producers Neal H. Moritz and Toby Jaffe through Moritz's Original Film, whose filmography includes this year's “Fast and Furious 6” and “Jack the Giant Slayer.”
It's worse than that. Among Moritz's production credits, these films:
- Total Recall (2012)
- The Change-Up
- Battle Los Angeles
- The Green Hornet
- Vantage Point
- Gridiron Gang
Plus all of the Fast und Furious movies. And he's remaking my favorite film of 2010.
At one point in “Un Prophete,” a fellow inmate tells Malik (Tahir Rahim), “The idea is to leave here a little smarter." I don't think that'll be possible in the Hollywood version.
Malik (Tahar Rahim) and Cesar (Neils Arestrup) contemplate the American remake of their Cesar-winning film.
The Best Film of 2012, 'Rust and Bone,' Out on DVD
“De rouille et d’os” (“Rust and Bone”) is a beautiful film about tragic circumstances. In the hands of a lesser writer-director, it would be melodrama but Jacques Audiard (“Un Prophete”) makes poetry out of it. A bloody tooth, loosened during a fight, spins in slow motion on the pavement as if in dance. A woman whose legs have been cut off above the knee returns to the ocean, whose warm waters glisten. Later, with metal legs and cane, she walks down the steps at Marineland, where she once worked, and stands in silence before a large glass tank. She pats the glass once, twice. After a moment, a monster looms into view. An Orca. The Orca? The one who took her legs? One assumes not. One assumes that one has been killed but you never know and Audiard never says. We simply watch the whale move with her movements. It’s been trained, and she was one of its trainers. She’s confronting her past, finally, but it’s also a moment steeped in silence and mystery and beauty and forgiveness. It’s the best scene of 2012.
And here is the cover of the U.S. DVD:
WTF? Seriously, out of all of the beautiful, haunting images in that film, that's what they choose? This shot? This shot that isn't even a shot from the movie? Anyone know who decides these things? Why they went with this? Why not any of these other shots?
Here's what the DVD looks like, front and back, in France:
C'est mieux comme ça.
This Is Not a Film They Will Submit for an Academy Award: Richard Brody and David Denby on Oscar's Backward Foreign Language Award
--from “Ask the Author: Live Chat with David Denby and Richard Brody on the Oscars,” on The New Yorker site this afternoon.
BTW: The search for the poster led me to the site “Frontier Psychiatrist” and this post, by L.V. Lopez, on the best films of the 2011 New York Film Festival. In case you're looking for a good foreign film to watch.
“Nhung Nu Hon Ruc Ro" at Rap Thang 8
Read Part 1 here.
On our last day in Hanoi, along with buying last-minute gifts for friends and returning to Cha Cha La Vong for the fried fish lunch, Patricia and I went to “Rap Thang 8.” which sounds like the worst MC Hammer song ever, but is in fact a movie theater frequented by Vietnamese, to see a movie called “Những nụ hôn rực rỡ.” Google translates those words into “The Brilliant Kiss” but at the time we had no idea what it was called or what it was about. We just wanted to see a Vietnamese movie and it was the only one playing in Hanoi that day. The woman selling tickets even warned us. “Vietnamese,” she said. I nodded, made hand motions and smiley faces that indicated we wanted to see it anyway. She giggled. With reason.
The cafe next door, “The Majestic,” was under construction, and I remember a lot of equipment and sawdust in the exposed lobby. The innards of the Majestic itself were exposed. It looked like the place had been bombed out. It was the exact opposite of the ultraclean MegaStar Cinema from the day before.
The posters for all three movies, along with TVs looping trailers for each, were on display behind the ticket-taker. In Phong Chieu 2, we could see “Legion.” Hollywood. In Phong Chieu 1, some kind of samurai horror movie. Japanese? And in Phong Chieu 3, our movie, “Nhung Nu Hon Ruc Ro,” a Vietnamese musical comedy.
We were told Phong Chieu 1 was through that door to the right. It looked like an exit. But we walked through it ... and into an alleyway.
“What the hell,” I said.
“Did you get the directions right?” Patricia asked.
I returned, pointed to the ticket, and the ticket-taker again pointed me to the exit. “No,” I began, “That’s...” What could I say? I wished for the zillionth time I could some semblance of the language.
Sensing my confusion, the ticket-taker pointed out the door and then down the alleyway.
“Really?” I asked. “Okay...”
This time we saw the sign at the end of the alleyway: RAP THANG 8, Phong Chieu 3.” Except there was nothing at that sign even remotely like a movie theater. We stood and looked around.
“What the hell,” I said.
“Well, you wanted a different movie experience,” Patricia said.
“Not this different,” I said.
“Phong Chieu 3 is past the bombed-out cafe and down the dank alleyway. You can't miss it.”
Patricia was the one who finally found Phong Chieu 3. It wasn’t all the way down the alley, where the sign was located; it was about three-quarters of the way down the alley on the right-hand-side. You parted some heavy curtains and there you were. The floor was almost level, the theater seated about 50, flies buzzed around. It felt like something out of community theater.
There were no subtitles to the movie, of course, so we had to figure out the plot for ourselves. In the end it wasn’t hard for anyone raised on 1960s sitcoms.
The movie is set on a remote island resort, where a member of a boy band (which are still popular in Asia) shows up ... to get away from it all? One assumes. The owner of the resort, a good-looking woman, then finagles him and his bandmembers into giving a concert to get the customers to save her resort. Or something. Shenanigans, mistaken identities and romance ensues.
Just another resort owner greeting another boy band frontman in Viet Nam.
It’s a colorful, poppy, probably supremely dopey movie, but there are two things worth noting about it.
One of the supporting players, an assistant at the resort, is an over-the-top gay character. He’s there mostly for comic effect. During montage sequences, for example, in which Girl A is pursuing Boy A, or Boy B is pursuing Girl B, he’s pursuing, haplessly, the quietest member of the boy band: a kid with one eye hidden by his hair, a la Veronica Lake, and a fedora, a la Sinatra.
No surprise that he was unsuccessful in his pursuit. One of our guide books, “The Rough Guide,” mentioned that, while there was no law in Vietnam banning homosexual activity, “Officially, homosexuality is regarded as a ‘social evil,’ alongside drugs and prostitution.” The surprise was that there was a gay character in the movie at all.
Then we got to the end, and the big concert, and the onstage confessions of love from Girl A for Boy A, and Boy B for Girl B. And everyone getting together.
Except for our gay character. He comes onstage. He talks into the microphone. He becomes emotional about what he’s saying. But no one comes out to sing with him. He’s alone. Tears well up. He’s comforted but it’s sad. The message is clear: Don’t be gay.
Except suddenly the Veronica Lakeish boy-band member comes onstage, singing the love song they’ve all been singing. And the two meet in the center of the stage and hold hands. And everyone applauds.
Then the lights go off, along with fireworks, and you see silhouettes of the principles embracing. Including our gay couple.
Then the lights go up and you see everyone kissing. Including our gay couple.
Then we get our happy ending.
Wow, I thought. Much more enlightened than I anticipated. Not only are the Vietnamese not behind us in this particular area, but ... they seem ahead of us.
A confession is made: “We're more enlightened than you.”
That’s the first thing worth noting about the film. The second is more of a punchline than anything.
I wanted to see this particular film because it was the only Vietnamese film playing in Hanoi that day, and I knew, from trying to see Vietnamese movies before we left, that they’re few and far between in the States. All that’s available is a handful of art films (“Cyclo”; “Scent of Green Papaya”; “Owl and the Sparrow”), and the long, messy history of Vietnam War movies.
But I was wrong. “Nhung Nu Hon Ruc Ro” is available in the States. You can watch the entire thing, in 10 segments, on YouTube.