ANALYSIS: Red Cliff 1 & 2 - Epic commercial blockbuster or unqualified historical disaster?

Red Cliff: An epic of commercial proportions?

The following is an analysis of both Red Cliff instalments as released in Asia.

I would not normally like to touch on movies that I do not like, but there are some that are so awful that it rankles, and I feel the need to make a statement even if everyone else seems to think differently.

As a film critic and producer/director/writer wannabe, there are certain rules that one has to generally accept when reviewing a film.

The first is that movies are inherently flawed. Even with all the attention to detail and continuity, the film is bound to miss a beat somewhere. Then there is the artistic license to change the storyline and plot details to improve viewing pleasure and dramatic impact.

There is no point in scrutinising every little thing just to see if the movie makes sense. If that's what you want, you can visit online forums on the movie or just watch Mythbuster.

The other thing is that film adaptations are generally not as good as the original yarn. As such, it is common for fans and readers of a novel, manga or otherwise to find fault with their respective film adaptations.

The historical epic Red Cliff, directed by John Woo no less, is essentially such an adaptation of the Three Kingdoms' Battle of Red Cliffs.

I'm not going to mince my words. I grew up on Romance of the Three Kingdoms, and I don't like John Woo's version, but that's not the reason I'm breaking the silence.

My beef is with the incredibly flippant motivations and excuses, given by the producers of the two films, for various events written into the storyline.

First they announced that the films would adhere more closely to true historical events - a poorly disguised attempt to give Tony Leung star billing, as if he really needed that (see how well he did in Lust, Caution).

Next they threw in Romance legends of Kong Ming 'borrowing arrows' - a bona fide Mythbuster 'candidate' - effectively making that announcement moot.

Nevermind that.

They needed a stronger female presence, so they threw the beautiful Xiao Qiao (Lin Chiling) right smack into the final confrontation between Cao Cao and the allied forces.

Do we really need to insult the history of Three Kingdoms like that? I can think up a possible dozen extra appearances for Lin Chiling without her having to take centrestage and ruining one of history's great literatures, or records for that matter.

Much ado about Tony: Suddenly the role of Chou Yu takes on a higher plane of importance; though to be fair, Tony Leung plays the part excellently.

They say she can't act: In honesty, she's beautiful enough that she doesn't really need to; but then they made her act the heroine....

Worthy adversary or loyal ally? The chemistry between Takeshi Kaneshiro's Kong Ming and Chou Yu seems a little suspect and sometimes a little contrived.

Fallen at the hands of a woman: Zhang Fengyi plays a lecherous Cao Cao who allows a woman to ruin his plans.

Romance of the Three Kingdoms is originally a tale about brotherhood. In that respect, getting John Woo of Bullet in the Head fame to helm Red Cliff seems an inspirational and foolproof choice.

Which is why I find inexplicable that the roles for Liu Bei, Zhang Fei and Guan Yu are so muted, while the best lines seem to fall to Tony Leung's Chou Yu and Takeshi Kaneshiro's Kong Ming.

And it is a two-part epic mind you. No excuses for underdeveloped key characters and storylines.

Chou Yu even gets to be the one to graciously let Cao Cao go scot free. Guan Yu and Kong Ming must be turning in their graves - since it is the former who does so in Romance, while the latter wanted to execute the man who allowed Cao Cao to fight another day.

And finally, though this has more to do with production issues, I would have thought the Chinese had learnt from the failures of Chen Kaige's The Promise and Tsui Hark's The Legend of Zu. Bad CGI just don't cut it in modern blockbusters.

On an added note, wire-fu - especially bad wire-fu - need to be kept off non-wuxia films.

Red Cliff was made with the sole intention to sell popcorn, not to honour the history and tradition of The Three Kingdoms - and a lot of popcorn it did sell.

However, the discerning audience needs to recognise that The Three Kingdoms (Chronicles or Romance) is in itself an epic tale, and the film makers borrowed on that to create a predictably epic and successful two-part movie.

I feel deeply disappointed that an epic story on brotherhood bonds could be so badly reinterpreted by a director like John Woo, who once made his name precisely on films that featured such themes of brotherhood.

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FEATURE: Joint Security Area - Simply the best of its genre....

Lee Byung-Hun, Lee Young Ae and So Kang-Ho as the film's main leads.

Does it look like the hero, villain and fair maiden? Can't be further from the truth....

I've been catching up on a few Korean (ie. South Korean) films lately. These include some of the horror ones, like R-Point, and some of the action thrillers, like The Chaser - both of which were quite highly rated. Suffice to say that Korean films in general are of very high production quality, well scripted, and nearly on par with Hollywood.

Joint Security Area (JSA) is not a horror film, nor is it exactly an action vehicle. Released at the turn of the millenium (2000), it is not a new film either, and does not really boast the best production value - though it is still very good - as is already typical of South Korean films.

I could call it a military thriller - its premise almost a mirror image to Hollywood's Courage Under Fire - except the story and conclusion to JSA has to be infinitely better, as only a tale of two Koreas could be.

Joint Security Area is quite simply the best film of its genre. But then we would have to redefine its genre, because to call JSA a military thriller is akin to calling the former WTC Twin Towers in New York ex-buildings.

A shooting incident in a North Korean border house at the Demilitarised Zone (DMZ) between North and South Korea leaves two North Korean soldiers dead and implicates a South Korean soldier who had escaped from the said border house.

To avoid an already fragile relationship between the North and South escalating into violence, a Neutral Nations Supervisory Commission is called in to investigate and arbitrate a solution. Leading the commission is Major Sophie, a Swiss national of Korean heritage. As she delves deeper into the case, wading through the conflicting accounts from both sides of the border, she discovers that things are not what they appear to be, and must decide for herself what constitutes the truth, and what it is worth in light of the current situation.

Part of the film takes place at the infamous Joint Security Area or Panmunjeom, the only portion of the Korean Demilitarised Zone where North and South Korean forces stand face to face. JSA shows us how seriously both sides can take their duties at this highly sensitive area.

As an investigative thriller, JSA boasts all the usual twists, turns and flashbacks that one might expect, including details on forensic evidence and witness statements.

But what it really is, and what truly sets it apart from your run-of-mill blockbuster, is a touching tale of brotherhood woven into the narrative. So much so, that it becomes a major part of the film.

Think John Woo, complete with [SPOILER ALERT!] a Mexican standoff [SPOILER END] that the famed auteur so perfected, but which JSA has effectively outdone. In fact, in light of the more recent but so disappointing Red Cliff, I would even tell John Woo to "eat your heart out!" to JSA.

Joint Security Area in effect, explores the lives of the isolated men who guard the DMZ on both sides of the border, in the larger backdrop of a volatile political climate that these same men could not understand nor really care for, despite their own loyalties. Major Sophie belongs to that larger backdrop - and her goal is to take that step down, to see things from their own points of view, to understand why the incident had to play out the way it did.

JSA further succeeds because of the way it takes place on several different levels. There are two effective timelines - one exploring the events leading up to the incident, the other emphasises on the investigation. Each major character also has his or her own issues.

But what clinches it for me is actually a twist in the film which has actually confused many in the audience.

I have read several articles where reviewers had questioned the point, even the logic, behind the turn of events. In fact, the twist was never necessary. It was not actually relevant to the larger story, and would have made things easier to understand if it hadn't taken place. Perhaps it was a case of one too many?

Instead, I applaud the director (Park Chan-Wook) for adding that aspect, effectively further humanising the story's main character, yet leaving that question of 'what if' in our minds. As any film maker knows, a good twist needs preparation - a cunningly hidden clue - and it wasn't as if Park hadn't provided one.

In fact, he provided it twice. What it needs however, is understanding and context, which the film will not provide at the time. When Major Sophie interviews Sgt. Lee Soo-Hyeok (Lee Byung-Hun), the alleged shooter and survivor of the incident, she remarks how his comrades had praised him for being a very fast shot. Instead, his reply provides a haunting perpective - that in war, it is not the speed of action that counts, but the steadiness of the mind.

The comment is only so important that it is repeated just once more later in the film, albeit and ironically, by a different person. This single spoiler I impart to you, because it is what is needed to understand the final outcome, and perhaps then you'll see why I recommend Joint Security Area so highly.

Like fine wine that only a connoiseur can appreciate, JSA is a film that takes some getting used to. But like its very final still shot, it hits you suddenly, as it did me. And I know this is one film I will never forget.

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Moo-oo-oo..!!

Exclaimations for:
! Outstanding Film/Storytelling: JSA won awards for Best Film and Best Director, but I'm not quite sure that's it. How to put it? A tremendous tale of brotherhood - how do you award that exactly? Best story for me... script was great too, but just a little suspect....
! Outstanding Final Shot: Those who have seen the film rave about the final end shot. I do too. Worth the price of a ticket, plus very probably the price of the DVD for good measure.

FEATURE: Love of Siam - A mature film on teen angst and sexuality....

From top left in clockwise: Wiwisit Hiranyawongkul, Kanya Rattanapetch, Aticha Pongsilpipat and Mario Maurer....

I find I always enjoy films that are refreshingly frank and honest in the way they address societal and reality issues.

That, aside from the film's eye candy (of which there are aplenty), I would say is one of the chief strengths in Love of Siam, a 2007 multiple award-winning Thai film.

Tong (Mario Maurer) and Mew (Wiwisit Hiranyawongkul) are boyhood friends who find themselves separated after a tragic disappearance in Tong's family. Years later, while in their teens, Tong and Mew meet up again, both having moved on in their lives. Tong has a very pretty girlfriend, while Mew is an aspiring musician with a successful boyband, August.

Yet neither is fully happy with his life. Tong's family is still struggling to cope with the loss of Tong's missing sister; Mew is finding it hard to find new inspiration for his songs. Their reunion however, helps bring back the memories and forces them (and Tong's family) to come to terms with their respective problems.

Teen drama that tugs on heartstrings....

Four gorgeous teens play starring roles in this romantic teen drama - but Love of Siam isn't just about these four, but also about the people around them, and the sometimes adult issues that face them as they grapple around with their own unadulterated lives.

In fact, what impresses me deeply is how each main character has his or her own storyline/issue fleshed out throughout the film.

It is almost an ensemble cast, each character almost equally good in his/her respective role - though kudos must also go to Sinjai Plengpanich who won Best Actress at the Thai film awards for her role as Tong's mother.

But what clinches it must be the controversial element in the story. I could use just one word to describe this movie, and everyone would understand immediately.

But I find myself agreeing with the producers of the film and director Chookiat Sakveerakul, who touted it a teen romance cum family drama.

Don't let that fool you though - viewers have apparently walked away from cinemas in disgust. There's a reason why this film will never be shown in some countries, including a fairly cosmopolitan and neighbourly Singapore.

Yet despite the controversy, Love of Siam has garnered critical acclaim and dominated the 2007 Thai film awards season - and for good reason.

Indeed, Love of Siam stands out as a drama film in a Thai industry better known for its horror, action or comedy genres.

Let me put it to you straight - it is definitely worth a watch so long as you allow yourself to keep an open mind. After all, it's the least a film - one that doesn't shy from the issues explored in this story - can expect.

MooMeter Reading:
Moo-oo...!!?

Exclaimations for:
! Outstanding Supporting Actress: The Thai Awards seem to recognise (rightfully) serious performances, but Kanya Rattanapetch as a lovelorn but happy-go-lucky schoolgirl is a breath of fresh air....

! Outstanding Theme Song (for your enjoyment below....)

Query for:

? Moovy Revue is not about to reveal the spoiler-worthy controversial element - but you can guess with a little bit of attention... or googling....

Love of Siam OST (Music Video) from youtube

He's Just Not That Into You: Doesn't quite get into it....

The men just don't get it. So I guess that's why we have this film to show us guys the ladies' side of things.

Apparently the women don't get it either. At least Gigi (Ginnifer Goodwin) doesn't, plus a whole host of her female friends in this romantic comedy ensemble about why he's just not that into you.

In Gigi's case, it's Connor (Kevin Conolly), from whom she's waiting for a follow up call after a date. So it's down to Alex (Justin Long) to educate her on a few of life's simple truths.

"If he wants to see you, he'll make it happen."

And all of a sudden, Alex becomes her love guru.

Connor on the other hand, has the hots for the lovely Anna (Scarlett Johansson) who's been blowing hot and cold. She has a friend Mary (Drew Barrymore), whom Connor has never met, but who is helping him with his Real Estate promotion.

Anna actually likes Ben (Bradley Cooper), who wants to keep the faith with wife Janine (Jennifer Connelly), but admits he was forced into marriage before he was ready. Janine however, seems more preoccupied with home renovations plus an unhealthy obsession with her husband's smoking habits.

Meanwhile, Ben's friend Neil (Ben Affleck), and Gigi's colleague Beth (Jennifer Aniston) have a long-time relationship going, but she is giving an ultimatum - too bad he isn't keen on getting married at all.

And oh, there's another thing about Mary. Apparently she's really into online relationships....

Goodwin, Aniston and Connelly: Guys just aren't that into them....

If you think the plotline's convoluted, that's because it actually is.

Yet somewhere through all the complicated and intertwined relationships, the movie and characters do eventually sort themselves out.

Couples get together, break up; pieces fall into place and life goes on.

They do have a Brit version you know - one with a bit more gender equality. It's called well... Love Actually....

It's a pity then that this film quite fails to deliver where the Brit counterpart did so well.

To be fair, the issues are different. But somehow stereotypes abound on an otherwise excellent ensemble cast that should have been fail-safe.

But instead we have characters like Gigi who just appears silly for her unwarranted faith in men, or Anna who insists on being the vixenous third party, and Janine, who just seems to miss the point completely.

I'm sorry then to have to say that, despite the presumably happy endings and it being supposed to be a chick flick and all - well, some men may be jerks - but the movie just doesn't reflect well on the ladies.

Guys must walk out of the theatre thinking that women are a neurotic bunch.

Perhaps, it is like as aforesaid. The men just don't get it.

But if that is so, maybe it's high time the girls learnt that - he's just not that into you....

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