Lu Chuan's totalitarian film language
Shelly Kraicer writes again about Chinese cinema, this time, a critique of Lu Chuan's City of Life and Death:
The film’s structure, though, seems oddly schizophrenic: the opening sections depict, with vigour and admirable clarity, skirmishes surrounding the Imperial Japanese Army’s attack on Nanjing, its entry into the city, and the resistance it encountered by a heroic band of Nationalist Chinese soldiers. These scenes are handled with formal panache, but stay well within a hybrid style derived from (1) Spielbergian Saving Private Ryan-style (1998) battle fetishization, making chaotic, unimaginable violence accessible to a mass market by giving “realism” for an audience that largely has no idea what a war looks like; and (2) heroic Chinese martyr cinema, producing larger-than life heroic types (in this case box-office star and local heartthrob Liu Ye) who encapsulate a standard set of virtues and who die violently to save the nation.
