SPECIAL FEATURE: DVD Review: How Bruce Lee Changed The World

Film: How Bruce Lee Changed The World
Release date: 25th October 2010
Certificate: E
Running time: 120 mins
Director: Steve Webb
Starring: Bruce Lee, Jackie Chan, John Woo
Genre: Biography/Documentary
Studio: IMC Vision
Format: DVD
Country: USA

This is an English-Language release.

A multitude of celebrities including Sugar Ray Leonard, LL Kool J, Jackie Chan, composer Lalo Schifrin and film directors John Woo and Brett Ratner pay homage to the greatest action superstar that ever lived. Written and directed by Steve Webb, How Bruce Lee Changed the World illustrates the influence and impact Lee has had on a whole generation, and why his greatness continues to be felt today by millions of people from all walks of life.

How Bruce Lee Changed the World looks at the global impact Bruce Lee has made within various fields. It constitutes eight sections, which are:

Philosophy: A look at Lee’s mental attitude and stability and how it has been adopted by Freerunners, athletes and filmmakers.

Breaking Stereotypes: One of Lee’s biggest fights was against racism. Lee’s celebrity fans explain how he fought against the Hollywood system and stereotypes, smashing through racial barriers and single-handily changing the way Asians are portrayed on screen.

Martial Arts: Fellow martial artists explain how Lee’s own concept of the fighting arts, which he called Jeet Kune Do, has developed into what is now known as Freestyle martial arts. Many of his applications are demonstrated by Scottish JKD instructor Tommy Carruthers who was taught by former Lee student Ted Wong.

Physical Fitness: For the first time, Lee’s dedication to fitness and exercise is recognised by bodybuilding experts, who credit his physical work-out methods as being an important part of modern day training.

Attitudes In China: Incredible to believe, but, whilst the rest of the world has embraced Lee for over 35 years, it’s only recently that he has been recognised as an important figure by mainland China. In this section, the filmmakers follow Lee’s daughter Shannon to various significant locations, and report on how some of the buildings associated with Lee and his ancestors are now being preserved as monuments that are imperative to the memory of Lee and his family.

Action Movies: Martial Art films may have become more sophisticated over the years, but it was Lee who set the benchmark. Stunt coordinator Thomas Sinn and action superstar’s Jackie Chan and Donny Yen speak of how Lee’s authenticity has led the way in action cinema, and why he is still regarded as the best.

Music: Lee’s influence stretches over into many spectrums - and has inspired many musicians. Producer and founder member of the hip-hop group The Wu-Tang Clan, RZA, speaks with much love and compassion for Lee, referring to him as a minor prophet. His words and affections reflect the opinions of many of those from ethnic groups who look upon Lee as an important figure and cultural hero.

Branding: Since his death in 1973, Lee has become a very profitable commodity and one of the most recognisable faces in the world. This section highlights the power of Lee’s image within various commercial markets…


How Bruce Lee Changed the World is a fitting accolade to the king of kung fu, and proves that Lee was dedicated at whatever he did. Throughout his short adult life (he died at only 32 years of age), he immerged himself in books and study, and became obsessed with learning all about the physical aspects of the human body through his love of the martial arts. A dedicated filmmaker, he was innovative and set new heights within the genre of action cinema.

This documentary makes a refreshing change from the majority of Bruce Lee documentaries, where the same friends and family members crop up to tell the same old stories which fans have heard time and again. Although no new discoveries are presented here, the focus on the impact Lee has had on the lives of all kinds of people from various backgrounds is rather stimulating.

The interview with Raymond Chow seemed pointless though, appearing for a few minutes but saying very little. Furthermore, when he referred to his friendship with Lee as being “close,” it was somewhat of a deceptive statement since it has become common knowledge among Lee scholars that their relationship was quite turbulent, especially towards the end. It would also have been nice to have seen more of Asian cinema ‘expert’ and film producer Bey Logan’s interview, which was cut from four hours down to a few minutes.

It’s unfortunate that the filmmakers failed to touch upon Lee’s own personal influences, which would have been a valuable aspect in learning how Lee became a charismatic powerhouse. Credit should have been given to the likes of Napoleon Hill and Alan Watts for their influences on his philosophy and thinking, and James Yimm Lee for introducing Lee to the concept of constructing homemade training apparatus, many of which have become standard pieces of training equipment for bodybuilders today.

Bruce Lee means so much to so many people and through this documentary it’s easy to see why; he was a self-made man, a pioneer for self-expression.


On the whole, How Bruce Lee Changed The World is a fresh new look at Lee’s legacy and proof that his influence, through mixed martial arts, modern cinema, video games, commercials and a whole host of merchandise, is still being felt today. Although it may lack any real innovation, the documentary does put into context just how incredibly unique and important this man really was, and still is, and is therefore a well deserved tribute to an important global iconic figure. SLP

REVIEW: DVD Release: Little Big Soldier

Film: Little Big Soldier
Release date: 8th November 2010
Certificate: 15
Running time: 96 mins
Director: Sheng Ding
Starring: Jackie Chan, Leehom Wang, Yoo Seung-yun, Lin Peng, Xiao Dong Mei
Genre: Action/Adventure/Comedy
Studio: Cine Asia
Format: DVD & Blu-ray
Country: China/Hong Kong

The talented and nimble Jackie Chan gives a commemorative performance in this martial arts comedy caper set in China during the Warring States period, just before the country was unified. Directed by the relatively unknown Ding Sheng, Little Big Soldier sees the kung fu icon return to form, even if it’s the younger members of the cast – including pop star Leehom Wang – who ultimately steal the show.

Much blood has been spilt between two opposing armies, the Liang’s and the Wei’s, and thousands of casualties lay motionless among the battlefield. However, the conflict has spared the lives of two men, Old Soldier (Chan) from the Liang Army, who shamelessly played dead, and a prince (Wang), from the Wei Army.

Unscathed, Old Soldier takes the wounded prince as his captive in the hope of handing him over to his superiors for a reward. But the journey to the state of Liang proves a long and treacherous one with many bandits and barbarians waiting in the wings. The unfortunate twosome also has to deal with the aggressive pursuit of prince’s brother Wen (Steve Yoo) and his entourage, who seek to kill him and take his place as the future ruler of Wei.

Through the formidable circumstances that start to emerge, the pair help one another during the many sticky situations, and come to rely on each other to survive. A tolerance and understanding between the two soldiers emerges, each finding a new respect for the other and a dignity within themselves...


The main script, written by Chan, is relatively straightforward. But beneath the simplistic plot lays a moralistic tale of honour, loyalty and brotherhood. Whatever the film lacks in plot, it more than makes up for in the fine acting capabilities of the cast, especially that of Chan. His portrayal of the seemingly gutless scallywag showcases his brilliance at comedy timing - his acting ability has vastly matured, and takes preference over his skill as a martial artist. Chan and Wang play-off each other very well and make a very convincing pair whose characters are inevitably bound together. Through the events that take shape, Chan’s character, Big Soldier, who is referred to as Small Potato by his hostage, proves to have admirable qualities he never thought he had - supposedly a coward at the start of the film by playing dead on the battlefield to avoid being killed.

The film is laced with subtle metaphors such as the poignant performance on a mountain top by the girl singer (Peng). Dressed in a white rope with long flowing sleeves, she moves swiftly like a bird, possibly signifying a dove of peace flying over the zenith. Although she plays a minor role, Peng’s delicate deliverance as the singer has a beauty that is most welcome, and doesn’t feel out of place or contrived. Even in this small part, Peng shows she has a graceful quality that could potentially take her to the heights of Zhang Ziyi (House Of Flying Daggers) or Xun Zhou (The Banquet). Overall, the film has a great supporting cast, even minor characters like the scholar and his students stand out. In fact, it’s a shame they didn’t have more screen time as they worked really well.

Director Ding Sheng presents us with the vastness of a dry wasteland, incorporating stunning panoramic views of jagged mountains that are used as a backdrop to the narrative; the camera sweeping over the summit giving scope to the terrain, and the environment showcasing the harsh conditions of the journey in which the foot soldier undertakes with his captive in tow. The costumes depicting ancient armour and the rugged look of Old Soldier and that of the barbarians blend in with the scenery, making the overall look of the film a character in itself. Vibrant colours are used sparingly throughout the film but are put to good effect during a dream sequence that has Old Soldier blissfully running through a field of yellow canola flowers.

The soundtrack is also underplayed, not being excessive for the sake of it, or for needless sentimental reasons. Often the score goes unnoticed, but that’s a good thing as it blends in with the whole presentation, never being unnecessarily dominant or distracting.


Chan bounces back from a string of uninspiring Hollywood films with Little Big Soldier in which he brilliantly demonstrates his acting ability that has improved immensely over the years. Although his action sequences emphasise his expertise in acrobatic manoeuvres rather than his proficiency in the art of kung fu, Chan fans won’t be disappointed. Strong performances from a competent supporting cast and genuinely funny successions of comedic moments, as well as striking visuals, makes this a must see film. SLP

REVIEW: DVD Release: Eden Of The East

Series: Eden Of The East
Release date: 29th November 2010
Certificate: 15
Running time: 333 mins
Director: Kenji Kamiyama
Starring: Ryohei Takizawa, Saori Hayami, Rei Igarashi, Atsushi Miyauchi, Sakiko Tamagawa
Genre: Anime
Studio: Manga
Format: DVD & Blu-ray
Country: Japan

Director Kenji Kamiyama (Ghost in the Shell) is joined by respected character designer Chika Umino (Honey & Clover) for his latest creation, Eden Of The East, an original, gripping, intelligent animation series with a progressively unravelling plot that takes place over eleven intensifying twenty-minute episodes.

On 22 November 2010, ten missiles strike Japan. Because they were targeted at isolated areas, the apparent terrorist attack, referred to as ‘Careless Monday’, claimed no victims, and the incident was soon forgotten by most people.

Three months later, Saki Morimi is on her graduation trip from Japan, and is standing outside the White House. As she tosses some coins onto the lawn, two police officers come charging over, demanding to know what she is doing. Just then, a young man by the name of Akira Takizawa, who is stark naked, distracts them and leads them away from the scene. He shortly returns and informs Morimi that he has no memory, and can’t explain why he isn’t wearing any clothes and why he is carrying a gun and a mobile phone with credit of 8.5 Billion Yen. After giving Takizawa her coat, Morimi, intrigued by the whole affair, decides to help him find out the meaning behind it all, and so they head back to Japan together.

With the mystery concerning Takizawa’s identity, and the news of another attack being planned, Morimi and Takizawa seek the help of the Eden of the East Project, a group of computer boffins of which Morimi is a member.

Takizawa is told by Mr. Mononobe, the main antagonist, that he is one of twelve Selecao’s taking part in a “game” devised by Mr. Outside, a mysterious figure who is never seen. The rules are simple: each of the selected twelve has a special phone containing credit of 8.5 Billion Yen, and must use it to help bring stability back to Japan in any way they see fit. Whoever achieves this aim is the winner. But whoever breaks the rules, such as using the credit for personal gain or deciding to do nothing at all, will be exterminated. So, who is responsible for ‘Careless Monday’? Is it possible Takizawa is a terrorist?


Kamiyama dangles a carrot in front of us, cleverly feeding us enough information in each episode to make us eager to continue watching. This is also facilitated by the talent of the two main voice artists, Ryohei Takizawa and Saori Hayami, who deliver commanding performances, making the rapport between Takizawa and Morimi all the more convincing, allowing us to warm to their characters naturally. The American police officers, on the other hand, seen in the opening episode, are portrayed as dim-wits – perhaps Kamiyama meant this as a humorous implication in response to the opinion by many that America is the centre of the world. The script is complex, at times, but always mature and compelling, and one of the main aspects for the series’ success, as well as focusing on a theme that is still very much close to our hearts.

With 9/11 still fresh in the minds of most people around the world, it’s easy to see how the terrorist attacks in East Of The Eden can be seen as distressing for some, and why it makes a worthwhile premise for a TV series. It’s these feelings of insecurity that resonates so well with us, and makes the subject matter all the more real - even if it is being presented in the form of animation. With such believable characters, the threat of a terrorist attack is very much realised.

Terrorism has been the central theme of many forms of storytelling, and is much of a potential danger to society today than it’s ever been. Kamiyama intelligently uses this worldwide fear to make comment on the changing attitudes of the Japanese people, which have been evolving more radically since the end of the Second World War. From Mr. Outside’s perspective, the nation has lost a part of its identity, whilst the economic struggle has caused a malfunction within the country’s structure.

Individualism is threatening the collective mindset once employed by the social order. His opinion of the younger generation is irrational; he views them as “deadweight,” who contribute to, what he perceives to be, a “slacker culture,” and his measures for putting Japan back to her former glory are extreme. The “game” he has developed is a retaliation against the fact that once the wheels of change are put in motion, it’s inevitable that they will keep on turning. However, no matter how isolated and detached we may feel within this change, there will always be hope. Ironically, the threat of Mr. Outside’s neurotic ideology is what brings the people of Japan together as they aim to fight against it. And where modern technology is blamed as the cause of creating isolation among the younger generation, as well as the crumble of community spirit, it actually serves as a positive tool which unites the people as they oppose stale beliefs.


Eden Of The East is a riveting series and makes an excellent first choice for those of you new to this genre – although established fans will not be disappointed either. With strong, likable characters, and a well thought out plot, its appeal stretches beyond anime, crossing over into mainstream quarters worldwide – a rare achievement indeed for a production within this category. SLP

REVIEW: DVD Release: Metropolis

Film: Metropolis
Release date: 22nd November 2010
Certificate: PG
Running time: 150 mins
Director: Fritz Lang
Starring: Alfred Abel, Gustav Fröhlich, Rudolf Klein-Rogge, Fritz Rasp, Theodor Loos
Genre: Action/Adventure/Drama/Romance/Sci-Fi/Thriller
Studio: Eureka!
Format: DVD & Blu-ray
Country: Germany

Considered by many for over eighty years to be the Holy Grail of lost films, the missing 25-minutes of the original version of Fritz Lang’s Metropolis has finally been found. The Austrian-born director’s 1927 tour de force has been fully restored and can now be seen in all its retro-style glory, just as Lang originally intended.

Metropolis is set in a futuristic city and tells the story of a down-trodden work-force being controlled by an industrial magnate called Joh Fredersen (Alfred Abel). The workers live and toil underground in harsh conditions, whilst the privileged high castes enjoy a luxurious life in the city above.

Fredersen’s cosseted son, Freder (Gustav Frolich), falls in love with the righteous Maria (Brigitte Helm) after she visits the Eternal Gardens with a group of children from the Lower City. Freder goes looking for the girl and is soon exposed to the horrendous state of affairs the workers are made to endure, and takes the place of a labourer who works a ten-hour shift working the hands of a giant clock machine.

Learning that Rotwang (Rudolf Klein-Rogge) has created a female robot as a replacement to their mutual lost lover Hel, Fredersen instructs the mad inventor to transform her into an evil double of Maria, whom Fredersen now sees as a threat, as she prophesises the coming of a ‘Mediator’ who will liberate the oppressed workers and their children, and to let her loose in the underworld…


The newly found footage, which was discovered in 2008 in Buenos Aires, now gives merit to the subplots that are woven into the script, written by Lang and his then-wife Thea Von Harbou, such as the rivalry between Rotwang and Fredersen over their past shared love for Hel, who died giving birth to her son Freder. It also restores the importance of the character Der Schmale (Fritz Rasp), the sinister assistant to Fredersen, whose limited scenes in the re-edited version made him appear insignificant.

With a quarter of the film reinstated, Metropolis can be seen as an epic film of many battles - religion against science, man against machine, liberation against oppression, and good against evil – and poses many questions, such as should man play at being God? Nowhere in the film is this question more apparent than in the scene where Rotwang transforms his metallic creation into the likeness of Maria, a scene that could have taken reference from the biblical story of Creation: “Then God said, ‘Let us make man in our image, according to our likeness, and let them rule over every creeping thing that creeps on the earth.” However, once Rotwang starts to play God, all hell breaks loose and results in a ‘big flood’.

The film is rife with religious symbolism, such as the Star of David located on the wall behind the seated robot as it is being transformed into the likeness of Maria; the Tower of Babel where Fredersen rules over the workers of the underworld; the prophecy of an apocalypse made by a monk during a sermon; the seven deadly sins sequence; and, most noticeably, the character of Maria who represents angelic and compassionate qualities resembling those of the Virgin Mary.

The film also oozes eroticism - the robot’s hour-glass figure and graceful strut resembles that of a catwalk model; and Maria’s sexual magnetism and seductive prowess over the powerless hot-blooded men of the Eternal Garden who are left mesmerised by her hypnotic sensual dance performance.

Its magnificent visuals consisting of striking towering city blocks, inspired by the skyscrapers of New York, which he witnessed during his trip to America in 1924, still captivates film-lovers to this day. It has been reported that Lang was never satisfied with the filming of Metropolis unless he had three good takes of every shot, leading to extreme rehearsals and exhaustion within the actors. Although she was a newcomer to the acting world, Helm proved her worth by playing both the empathetic Maria and the seductive Maria convincingly. But she admitted at the time that the water sequences for the flooding scenes were a strain on her health, as was the wearing of the robot suit. Clamped in her wooden armament, made from malleable wood material which had just appeared on the market, Helm suffered from lack of air due to the shot taking so long.

Shortly after its premier, the film, which ran at a little under two-and-a-half hours, was considered far too long for American audiences and thus was savagely re-edited, much to Lang’s disgust, resulting in the storyline making little sense at all. The film was a major flop for the studio, and being the most expensive film ever made, at that time, it almost brought UFA to its knees. However, the film has built up a cult following over the years, and has gained the respect it so rightly deserves. And more than eighty years after its original release, Metropolis continues to mesmerise audiences and be an influence on contemporary filmmaking, a testament to Lang’s genius as a visionary.


The words groundbreaking, timeless, classic and masterpiece are shamelessly over-used in film critique, making them almost clichés. But these are words that accurately describe this work of cinematic art. There’s no denying, especially now that it can be seen in its entirety, as Lang intended, that Metropolis is the most important film of its genre, and undoubtedly one of the greatest films ever made. SLP

REVIEW: Cinema Release: Confucius

Film: Confucius
Release date: 24th September 2010
Certificate: 15
Running time: 110 mins
Director: Mei Hu
Starring: Chow Yun-Fat, Zhou Xun, Chen Jianbin, Yao Lu, Zhang Xingzhe
Genre: Action/Biography/Drama/History/War
Studio: Cine Asia
Format: Cinema
Country: China

Confucius is set during China’s renowned ‘Spring and Autumn Period’, and tells the story of the most loved and respected figure in Chinese history. It has caused much controversy in its homeland, before and after its release, and has even led to the threat of a law suit by one of Confucius’ descendents. Hong Kong legend Chow Yun-Fat plays the title role.

It’s 500 B.C., and China has yet to be unified. The country is a mélange of feudal kingdoms and warring states, each competing for domination.

A commoner by the name of Confucius (Chow Yun-Fat) is given recognition for his supreme knowledge and wisdom by being made Minister of Law in the Kingdom of Lu. He soon proves invaluable to the ruler (Chen Jianbin) for his understanding of leadership, and becomes a great influence on the leader’s decision making.

The ruler of Lu’s increased power and growing respect from the people aggravates the aggressive leader of the neighbouring state Qi, who aims to destroy the Kingdom of Lu. In desperation, Confucius is called upon to lead the Lu army to fight against the mighty Qi. Victory is won and peace is restored to the Kingdom of Lu.

But victory has come at a price for Confucius; his skills in leadership and winning battles is seen as a threat among an envious aristocracy who now see him as a rival to the ruler of the Kingdom of Lu. He is forced into exile and, accompanied by some of his students, he wanders throughout the land hoping to share his ideas with local rulers who might appoint him for his political ideas. However, he is rejected by one after another.

Confucius and his students battle the elements and face horrendous conditions of poverty and starvation as their political ideas and moral views are put to the test…


Without a doubt, Confucius is a visually pleasing film, but with giants like director of photography Peter Pau (Crouching Tiger, Hidden Dragon) and costume designer Yee Chung-Man (Curse Of The Golden Flower) weaving their magic within the film world, audiences have come to expect nothing less from such talent. However, the script, to what could have been a major epic and important film, has been tampered with so much, and with four writers, including Hu, putting their monies worth in, it really is a case of too many cooks. The end result has the appeal of nothing more than a made-for-television film. This is hardly surprising when one realises that the aforementioned medium is where Hu Mei has excelled as a director. Perhaps it’s a case of Mei having bitten off more than she could chew. It’s quite preposterous to think that a film depicting the greatness of an influential giant like Confucius could be condensed into just 110 minutes. Its failings are many, including its aim to please so many people yet evidently pleasing no-one.

But in all fairness, Mei should receive our sympathy to some extent, as she was stuck between a rock and a hard place when having to make difficult decisions, such as removing controversial scenes between Confucius and Nanzi, which ultimately led to Xun having less than ten minutes of screen time - a great shame considering her portrayal as Nanzi is one of the most memorable things about the film. Perhaps Mei’s lack of experience as a cinematic director was the reason she decided not to go with her gut instinct.

Chow Yun-Fat’s depiction of Confucius also deserves a worthy mention; he plays the charismatic teacher with much honesty and integrity, although, his good looks are a far cry from the reality that Confucius was, apparently, rather ugly with a crown-shaped head, and at 6-foot tall, his stature in ancient China would have been deemed quite odd.

The film would have fared much better had it tried to reveal a little about Confucius’ upbringing and how his mother was to be the biggest influence on his life. The fact that Confucius had faced hardship throughout his early life and yet still excelled as a scholar is a true testament to his character - unfortunately, this wasn’t touched upon in the film.


History shows that Confucius failed in his pursuit of a political career but he exceeded triumphantly as a teacher and educator. His teachings are held in high esteem and are still being taught today, which has led to a legacy that is worldwide. Unfortunately, the film struggles to infuse any interest for those who know little about this great man and his teachings, and fails to make them want to learn more about him. And for those who are already familiar with his life and work, they will gain nothing new. SLP

REVIEW: DVD Release: 7 Days

Film: 7 Days
Release date: 23rd August 2010
Certificate: 18
Running time: 106 mins
Director: Daniel Grou
Starring: Rémy Girard, Claude Legault, Fanny Mallette, Martin Dubreuil, Rose-Marie Coallier
Genre: Drama/Horror/Thriller
Studio: E1
Format: DVD
Country: Canada

Daniel Drou plays Devil’s advocate as he directs the brutal, yet powerful French-Canadian film 7 Days (original title Les Sept Jours Du Talion, literally translated as 7 Days Of Retaliation), a story based on a novel by Patrick Senécal (who also wrote the screenplay) of a man who sinks deeper and deeper into despair as he takes the law into his own hands and comes face-to-face with the ‘monster’ who raped and murdered his only child.

Bruno Hemel (Claude Legault) is a well-mannered, highly respected and successful surgeon who lives with his wife Sylvie (Fanny Mallette) and their beloved daughter Jasmine (Rose-Marie Coallier) in a quiet suburban neighbourhood in Quebec, Canada.

The day starts with the happy family all enjoying breakfast together at the kitchen table. Jasmine wants her father to help her deliver birthday invitations to the homes of her friends before she goes to school. But after an all-night operation at the hospital, Bruno is too tired to escort her, and her mother doesn’t have the time to help either. Disappointed, Jasmine decides that she will deliver the invitations after lunch and is lovingly sent off to school.

As Jasmine heads off, Sylvie persuades an unenthusiastic and weary Bruno to partake in some morning lovemaking before she leaves for work. Sometime after, he awakes to an empty house and begins working on his laptop whilst drinking a bottle of beer, but a knock at the door brings the realisation that Jasmine never made it to school and has gone missing. The police are called, and with Bruno assisting them, a hunt for the young girl begins.

The discovery of her abused and murdered bloody body is the beginning of Bruno’s spiral into rage, darkness and misery which leads to the kidnapping of the murderer, Anthony Lemaire (Martin Dubreuil), and seven days of unimaginable torture which climaxes on, what would have been, his daughter’s ninth birthday…


7 Days is an intense, violent, thought-provoking film that forces us to question our beliefs on controversial matters such as vigilantism, human-rights and the criminal justice system. But it goes far deeper than that, it gets to the very soul of a man whose life has sunk to the dark depths of desolation, where he lives with the excruciating pain of guilt, which he has bestowed upon himself for failing to save the life of his daughter. Therefore, the question that is being implied is whether the punishment Bruno inflicts upon his daughter’s murderer is inhumane or justified?

The film is shot at a steady pace, allowing the tension to build gradually, drawing us further and further into Bruno’s darkened world. Drou is cautious and takes his time directing the soft, slow camera movements, deciding against fancy camera angles and quick editing. The lack of music throughout the film only adds to the overall realism - in fact, any composition used would only disturb the intense atmospheric scenes.

High praise must certainly go to Legault for his portrayal as the vengeful father, and Mallette, who plays his emotionally shattered grieving wife – two very strong and convincing performances. Respect should also be given to Dubreuil, not because he gave a powerful performance, because he didn’t, his character didn’t call for it, but for the fact that he had to play a pathetic paedophile fully naked strapped to a torture device for almost every scene he was in – a role that could easily be humiliating for many actors.

Keeping the dialogue to a minimum was a smart move, too, but there are moments, such as when Bruno gives his captive a plate of food, where it feels we are being spoon feed (no pun intended!). We know it’s not done out of compassion, we know the food is being given to him to keep him alive, so he can suffer more punishment, we don’t need to have Dubreuil’s character say it. And also, having Bruno kidnap the mother of another victim of the murderer, and forcing her to face him after she has proclaimed on TV that she has blanked him out of her mind – an announcement that disgusted Bruno – is unnecessary and even unrealistic.

To pigeonhole 7 Days solely in the horror genre would do it an injustice, and would remove the seriousness of the theme, and what Drou is trying to convey - and it may actually draw in the wrong crowd. And yet, some of the violence is so extreme it may turn many filmgoers, who don’t have the stomach for it, away.

Thus, sitting through 7 Days is no easy task; even the hardest of the hardened will find some of the graphic torture scenes a little challenging to sit through – if they don’t, they probably need to question themselves, which is the whole point of the film anyway. But no scene is more disturbing than that of the lifeless body of murdered Jasmine, an image that is all too real, and an image that no-one should ever have to see in real life.


7 Days is a gripping, hard-hitting, gut-wrenching film that will unapologetically have you questioning your moral values - and your endurance for ultra-violent scenes. SLP

REVIEW: Blu-ray Only Release: The Banquet

Film: The Banquet
Release date: 2nd August 2010
Certificate: 15
Running time: 126 mins
Director: Xiaogang Feng
Starring: Ziyi Zhang, Daniel Wu, Sun Zhou, You Ge, Jingwu Ma
Genre: Action/Drama/History/War
Studio: Metrodome
Format: Blu-ray
Country: China

Loosely based on Shakespeare’s Hamlet The Banquet, directed by Feng Xiaogang, is a lavishly produced tale of incest, corruption and revenge during the fall of the Tang Dynasty, a period known as the 'Five Dynasties of Ten Kingdoms'. A web of intrigue has been woven within the walls of the Imperial Palace that ultimately leads to tragedy and bloodshed.

China 907 BC: Prince Wuluan (Daniel Wu) has decided to study the performing arts in remote woodlands away from the Imperial Palace after his sweetheart, Little Wan, (Ziyi Zhang), marries his father the Emperor, and thus becoming Empress.

She sends word to Wuluan that his father has been killed, presumably by a black scorpion, and his Uncle Li (You Gi) has now taken the throne, taking her as his own Empress.

Unbeknown to Wan, Li orders a secret onslaught on Wuluan, but despite the slaughter of all Wuluan’s fellow performers, whose faces are hidden behind white impassive masks - making it difficult to know which one is the Prince - Wuluan makes a narrow escape. Convinced they have killed Wuluan, the steel-welding Imperial Guards return to notify the Emperor of their “success”.

Believing Wan to be responsible for his father’s death, Wuluan returns to the palace to confront her, but Wan reassures Wuluan that it was Emperor Li who killed his father.

Once the Emperor learns that Wuluan is still alive, another attempt on the young Prince’s life is made, only to be saved yet again by the Empress’ intervention.

The Emperor decides to hold a lavish banquet and orders all those that don’t attend to be put to death. The Empress sees the event of grandeur as the perfect opportunity to rid the world of the Emperor. But as with all Shakespearean tragedies, all does not end well…


The Banquet is a visually spectacular costume drama, which incorporates balletic fight scenes with lashings of blood and grandiose set pieces, as well as impressive crane shots used to good effect during scenes within the walls of the Imperial Palace.

The central figure in the story is the multi-faceted Empress Wan, played to great effect by the talented international superstar Ziyi Zhang. The Empress is a complex character with a multiple persona, which is subtly revealed by the adornment of her vibrant extravagant costumes that she wears at specific moments. Colours divulge her characteristics: gowns of reddish-purple are worn as she demonstrates her powerful malicious side; whilst yellow, her chosen colour of attire during intimate moments with the Prince, is worn at times when she can be gentle and most true to herself. The role of the Empress was originally intended for a more developed actress, someone of Gong Li’s calibre, for example. But once Zhang agreed to come on board, Xiaogang was enthusiastic towards her suggestions on how she should approach the role, which led to major changes in the script to suit her specifications.

Because of this alteration with the leading actress, the film has come under fire from some critics who deem the role of the Empress too demanding for someone, at that time, not yet fully developed. If Gong Li or even Maggie Cheung did fill the Empress’ shoes, this would indeed command an amendment with the other major players. Although this could have given the film more substance, Zhang’s portrayal of the Empress, as well as the visuals, is the film’s saving grace; being that the decision to make the Empress only four years younger than the Prince actually works, it’s just a shame that Wu couldn’t have played the Prince with a little more ardour.

High praise must also go to actress/singer Xun Zhou for her portrayal of the virtuous Qing, who is deeply in love with Wuluan, and is the only character we can warm to. She is the innocent one within this tragic entanglement of love and rivalry, and receives our full sympathy – a well-deserved winner of the Hong Kong Film Award for Best Supporting Actress for her role. She also sang the closing theme tune, which was nominated for a Golden Horse Award for Best Original Film Song.

The overall intellect and style of The Banquet is very theatrical, and is relatively in keeping with Shakespeare’s original vision. On the downside, the western-influenced soundtrack falls short of being appealing, and is quite unforgettable, only managing to be commanding on occasion.

There is also an over use of slow motion filming. This technique works well with certain scenes, such as those of galloping horses and the wirework fight sequences, but is over-applied at other times, especially during the torture and slaughter scene of General Yin Sun (Xiaoming Huang). What should have been a brutal and unsettling sight for us to witness, consequently became an exaggeratedly dramatic stage show, which diminished the overall effect.


The Banquet is by no means a masterpiece, but it is a gloriously spectacular work of visual art with some fine performances, mainly from two of China’s brightest stars - Zhang Ziyi and Xun Zhou. Sadly, it’s hard to feel any compassion for the three main characters, as they are often cold and callous, putting a distance between them and the viewer. SLP

REVIEW: DVD Release: Axis Of War: My Long March

Film: Axis Of War: My Long March
Release date: 24th May 2010
Certificate: 15
Running time: 96 mins
Director: Zhai Junjie, Yang Jun
Starring: Zhong Qiu, Wang Ying, Wang Jia, Wang Xingang
Genre: War/Action/Drama
Studio: Metrodome
Format: DVD
Country: China

My Long March is the second instalment in the Axis Of War trilogy and takes place in China between 1934 and 1935. It is a tale of honour and endurance against the odds and self sacrifice, focusing on the up-rise of the Red Army lead by its charismatic controversial leader Chairman Mao Zedong (also known as Mao Tse-tung), and a military achievement that would claim the lives of thousands and ultimately change the country forever.

After his father is killed during a bombing raid by the KMT (Chinese Nationalist Party), 16 year-old Rui Tazi Wang enlists with the revolutionary battalion CCP (Chinese Communist Party), known as the Red Army, under the command of Mao Zedong to fight against them. They set off on a 6,000 mile march that lasted for one year and resulted in the extermination of over 50,000 Red Army soldiers.

During the year long nightmarish bloodshed, Rui’s life is changed forever as he witnesses the deaths of many of his loved ones, including his sister and brother in-law. But rather than let his grief discourage him from the mission, he vows to continue on with the fight, and honour those who selflessly gave up their lives for a brighter new unified China…


My Long March is a very biased film; it could even be described as propaganda in its attempt to justify the loss of thousands of lives. Mao is portrayed as an extremely compassionate man with very little, if any, flaws. The film even tries to make an excuse for him as he orders his wife to leave their new born child with local villagers by having him proclaim, “She was born at the wrong time.” Rui’s relationship with Mao is also somewhat far-fetched. Having Mao portrayed as a kind of father figure to Rui is stretching the imagination a little too far and shows him in an unrealistic light.

The film fails to explain the purpose of the war and who exactly the Red Army are fighting against. In fact, we rarely get to see the opposing side, except for the over-head attacks of fighter planes and the devastation they cause, making them appear faceless. Unless you are familiar with the history of the Red Army, and the civil war that took place in China at that time, you will undoubtedly be somewhat confused by this film. It’s never actually made clear why the communist movement was becoming a threat to the Nationalist Party, or why a large majority of the peasants from rural areas were being recruited by the Red Army. The poor script doesn’t help either; it’s thin and weak and one-sided. Quite frankly there’s as much meat to it as there is on a chicken wing.

Although the music score, composed by Zang Qianyi, is beautiful in itself, it is overused in parts, and gives the film way too much sentimentality – like there isn’t enough of that in there already. A mountain song performed by Rui’s sister in the hope of winning the confidence of the indigenous Yi people is absurd, especially since, in reality, it was a Red Army General, who could speak the Yi language, and a few of his men that won the Yi’s trust – and not by wooing them with an engaging song either, I might add. Mind you, the tune on its own merit is rather charming, as long as one doesn’t pay too much attention to the lyrics.

On a more positive note, it succeeds in demonstrating the sheer determination and bravery of the 87,000 men and women who fought for the Communist Party at that time, and how they endured the rough terrain on the Long March to which over 50,000 lost their lives.

Visually the film is impressive, with stunning battle scenes pieced together with quick cuts and slow-motion sequences. The confrontation that takes place on the 100 yard-long Luding Bridge, which stretches over the Da Du River, is pretty spectacular. As Red Army soldiers crawl along the iron chained bridge bullets ricochet off the metal links, and yet does not discourage them from storming the fort.


My Long March is an epic film that showcases some spectacular battle sequences but overall has a tendency to make the viewer, especially Western audiences, feel ill at ease; we are made to feel empathy and have an understanding towards Mao and his army, and as a result we do. But the question is, should we? SLP

REVIEW: DVD Release: Treeless Mountain

Film: Treeless Mountain
Release date: 26th April 2010

Certificate: PG

Running time: 89 mins

Director: So Yong Kim

Starring: Hee Yeon Kim, Song Hee Kim

Genre: Drama

Studio: Soda

Format: DVD

Country: South Korea

Written and directed by Korean-born, American-based, independent filmmaker So Yong Kim, Treeless Mountain is a touching story of two young sisters - a reportedly autobiographical depiction of desertion that is both credible and honest.

Six year-old Jin (Hee-yeon Kim) and her four year-old sister Bin (Song-hee Kim) live with their dispirited mother (Soo-ah Lee) in a cramped apartment in Seoul. Being sensible, and the eldest of the two sisters, Jin often has to take responsibility for Bin, as well as certain chores when their mother is working. Although she clearly loves her children, loneliness has taken up residence in her heart after her husband had walked out on them – it is never made clear as to why. Determined to make things right, she leaves the girls with their aunt, who lives in a shabby town outside Seoul, and goes searching for their father. She gives Jin and Bin a piggy bank and tells them that their aunt will give them a coin every time they do something she tells them to do, and by the time the piggy is full, she will have returned.

The girls soon realise their aunt is an unaffectionate selfish drunk; although not deliberately heartless - it’s obvious that she isn’t cut out to care for the girls. Being the sister of their father, any lack of compassion could be hereditary. Needless to say, Jin and Bin find a more creative way to earn money and fill up their piggy bank – they grill grasshoppers, stick them on skewers and sell them to the local kids. Once the piggy is full, Jin and Bin race to the bus stop and wait for their mother to arrive. The bus comes but there’s no sign of their mother. Their aunt receives a letter from her explaining that she has found her husband but it didn’t go as well as she planned. She writes that she is unable, emotionally and financially, to care for Jin and Bin and that she doesn’t want to burden their aunt with them and thus asks her to take them to stay with their grandparents on their farm…


Treeless Mountain is the second feature by Kim and was shot in South Korea where she was born. The photography wonderfully embraces the beauty and ugliness of the city and rural locations. The film incorporates very little dialogue preferring to leave the visuals to tell most of the narrative, which carries the plot along at a slow meditative pace. Most of the camera shots are low-placed rendering the two sisters’ point of view, which cleverly allows us to share their perspective of what can often be seen as a cruel and unsympathetic world. Kim chooses to come down to the children’s level rather than pointing the camera down on them, which would come across as patronizing – the film is not meant to be experienced from an adults point of view, this would miss the whole point of what the film is trying to convey.

The two main protagonists are charmingly portrayed by Hee-yeon Kim and Song-hee Kim. Their lack of acting experience only adds to the realism of the film, resulting in more natural performances. Kim found her two young leading stars when she auditioned various children from elementary schools and kindergartens across South Korea. In order to create confrontational scenes between the two girls, who appear in almost every scene, and portray much of their own personalities, Kim would manipulate the situation by hiding something that belonged to one of them. If it was something like a sketchbook that belonged to Song-hee Kim then she would blame Hee-yeon Kim for taking it.

Treeless Mountain demonstrates perfectly why independent films are so important – in the hands of a director from a major studio with a large budget this film would quite easily be ruined. The limitations, as is the case with many other independently produced films, only add to the film’s effectiveness. It diaphanously captures a child’s resilience to change and a willingness to adapt to diverse environments.

Kim’s poignant film of two resourceful children with uncertain prospects is not going to be everyone’s choice of film, the pace may irritate some and its uncomplicated storyline may be too simplistic for others. But to pass up on at least one viewing, and to ignore the work of this creative director, would be to miss out on a talent that will undoubtedly one day produce a masterpiece.


Although it just falls short of being a great film, Treeless Mountain is the perfect example of a creative director with a promising future. SLP

REVIEW: DVD Release: Sansho Dayu + Gion Bayashi

Film: Sansho Dayu + Gion Bayashi
Release date: 19th November 2007
Certificate: PG
Running time: 210 mins
Director: Kenji Mizoguchi
Starring: Kinuyo Tanaka, Yoshiaki Hanayagi, Eitaro Shindo, Michiyo Kogure, Ayako Wakao
Genre: Drama
Studio: Eureka!
Format: DVD
Country: Japan

Kenji Mizoguchi’s Sansho Dayu and Gion Bayashi are paired in the first of four double-bill releases in the Masters of Cinema Series released by Eureka. Both films reflect the mastery of one the most accomplished filmmakers of Japanese cinema.

Sansho Dayu (1954)
Based on a novel by Mori Ogai, Sansho Dayu is regarded by many to be Mizoguchi’s finest magnum opus and is often considered one of the greatest films of all-time.

Set in 11th century Japan, the world of a noblewoman, Tamaki (Kinuyo Tanaka), and her two children, Zushio (Masahiko Kato) and Anju (Keiko Enami), is torn apart after they are forcibly separated by slave traders; Tamaki is put into prostitution and Zushio and Anju are sold into slavery.

The main narrative focuses on Zushio and Anju’s journey into adulthood at a time of social injustice when much of Japan was still inhumane and the suffering they inevitably endure as they try to reunite with their mother…


Although much of the brutality, such as the brazing of a woman, takes place off screen, the implications of cruelty are nevertheless disturbing. But the awful events that take place are made bearable only by Miyagawa Kazuo’s gorgeous black-and-white photography, and Mizoguchi’s trademark technique - the long-shot, which is exquisitely applied throughout resulting in the film being a visual masterpiece.

Although the story of Sansho Dayu is a tragic one, the viewer is not left feeling despondent but rather in awe of a master whose skill as a director is unprecedented.


Gion Bayashi (1953)
Gion Bayashi takes place in post-war Japan, at a time when traditional values were being tested by modern ideals, and concerns the lives of two independent women from different generations.

A 16-year-old orphan called Eiko arrives in Kyoto looking for her deceased mother’s friend, Miyoharu, in the hope of being trained as a geisha - the profession her mother followed. Miyoharu is reluctant at first to take Eiko in, as the training is intensive and requires much commitment, but she is soon persuaded by the young girl’s desperate plea and determination.

The cost of her training will be excessive, so Miyoharu turns to Okimi, a highly-regarded female restaurant manager, for a loan whom sequentially borrows the money from one of her rich male clients. But unbeknown to Eiko, there are strings attached…


Like all of Mizoguchi’s films, Gion Bayashi is character driven and seen from the woman’s perspective in a male dominated society. Prostitution features in many of Mizoguchi’s films, including the two presented here, and something he was very much familiar with being a regular visitor to a number of pleasure districts. He understood women and had much sympathy for them, which is clearly demonstrated in Gion Bayashi (aka Gion Festival Music) where the main emphasis is on personal values.

Although the overall script is much more simplistic than that of Sansho Dayu, Gion Bayashi is nonetheless a film that is accurate and honest, and a perfect representation of the world of geisha.

Mizoguchi’s attention to detail is unquestionable, and the film works as a great documentation on the attire and training of a maiko (apprentice geisha). And while it is inevitable that Gion Bayashi will be compared to Mizoguchi’s earlier film Sisters Of Gion (1936), and makes for a decent discussion, any comparisons between this over-looked classic and Memoirs Of A Geisha is just a waste of time.

This deluxe edition twin-pack comes lavishly packaged with a reversible sleeve illustrating reproductions of the original Japanese posters, an 80-page booklet that includes many stills and behind-the-scenes photographs, many with Mizoguchi, as well as full cast and crew credits, a conversation with Mizoguchi first published in 1937, a full reprint of an acclaimed translation of Mori Ogai’s original 1915 story on which Sansho Dayu was based, an article by film critic Robin Wood, and extracts from the book Mizoguchi and Japan by Mark Le Fanu; one of the few books published on the life and work of the great man. Special features on the discs include restored high-definition transfers, original trailers with English subtitles and video discussions with filmmaker and critic Tony Rayns.


Sansho Dayu is indisputably a masterpiece of cinema with outstanding performances from all of its cast, but this fact should not over-shadow or diminish the excellence of Gion Bayashi; they should equally be appreciated and enjoyed for their own unique brilliance. Both films are invaluable to any serious film collector. SLP