Categories
Features Live Action Movies

The Battle At Lake Changjin (Zhang Jin Hu, 长津湖)

Directors – Chen Kaige, Dante Lam, Tsui Hark – 2021 – China – Cert. 15 – 176m

*****

Chinese war movie which has barnstormed the global box office does exactly what it says on the tin – out in cinemas on Friday, November 19th

There is a history of war films with a cast of thousands being directed by several (usually three) directors in an attempt to portray campaigns with huge military logistics on the screen. Probably the best known are The Longest Day (Ken Annakin, Andrew Marton, Bernard Wicki, 1962) about the World War Two Allied invasion of Normandy and Tora! Tora! Tora! (Richard Fleischer, Toshio Matsuda, Kinji Fukasaku, 1970) about the Japanese attack on Pearl Harbour. Both of those Western (and, as it happens, Twentieth Century Fox) movies presented both sides of the conflict by hiring directors from the different countries concerned.

The big difference between them and Chinese global box office phenomenon The Battle At Lake Changjin is that although the latter film deals with a conflict in which the Chinese are pitted against the Americans, all three directors are Chinese. Tsui (Zu Warriors, 1983; Once Upon A Time In China, 1991) at least has some working knowledge of America, having studied film in Texas.… Read the rest

Categories
Features Live Action Movies

Death, Desire And Rat Poison

An introduction to the films of Korea’s late and, lamentably, largely unknown director Kim Ki‑young – originally published in Manga Max, Number 8, July 1999. Reprinted here to coincide with London East Asia Film Festival (LEAFF)’s screening of Woman Of Fire (1971) on Friday, October 29th. If you missed it, the restoration screens again on Friday, November 5th as part of a strand dedicated to actress Youn Yuh-jung at London Korean Film Festival (LKFF) which runs from Thursday, November 4th to Friday, November 19th

Kim Ki-young

It seems unthinkable that the world could have failed to recognise a director whose 2.35:1 widescreen visuals compare favourably with Seijun Suzuki and John Boorman and whose marriage of technique with subject matter is as terrifying as anything by Dario Argento or Alfred Hitchcock. Nevertheless, when 1997’s Pusan International Film Festival (PIFF) ran a retrospective season of films by Kim Ki-young (the first of a proposed series of annual events showcasing Korean directors) it quickly became clear to astonished audiences that the unthinkable had indeed happened. Sadly, on February 4th 1998 – within six months of his new-found international acclaim – Kim and his wife died in a fire in Korean capital Seoul.… Read the rest