REVIEW: DVD Release: Central Station

Film: Central Station
Release date: 1st April 2004
Certificate: 15
Running time: 106 mins
Director: Walter Salles
Starring: Fernanda Montenegro, Vinícius de Oliveira, Marília Pêra, Soia Lira, Othon Bastos
Genre: Drama
Studio: Miramax
Format: DVD
Country: Brazil/France

As with all road movies, Central Station is about finding oneself, but it stands out in the characters who are so well written that it is impossible not to invest emotionally. Walter Salles shows off his skills again at bringing great performances from non-actors amid scenes of Brazil at its brightest and gloomiest.

In Brazil’s central train station sits Dora, day after day, selling her much needed skill of reading and writing. People pour their hearts out to her so that she may write letters to loved ones, hated ones or even lost ones - all written and posted for a price. Only, Dora does not post the letters. Hardened in her old age, she keeps some in a drawer, whilst others are thrown into the bin - after criticising and laughing at them with her neighbour.

When a woman and her son come to her to write a letter, reconnecting with the boy’s father, Dora is all too quick to judge again. But the woman returns to write a second letter, imploring the man to finally meet his son, young Josué, who sees through Dora’s scam. Moments later, his mother is hit by a bus and dies, leaving Josué alone in central station with only the promise of a father he has never met, and a letter writer who feels obliged to give him a bed to sleep.

Dora and Josué’s relationship is one of distrust and disapproval, seeing in each other a mirror of cynicism and equally eager to be done with each other. Dora even tries to sell the boy at first, but after realising he may be killed for his organs by this so-called adoption agency, she steals him back and they flee the city together.

Left with only the address of his mother’s letter, Josué and Dora begin their journey to find his father. But what starts as a journey to be rid of each other as soon as possible becomes a journey of finding in each other the solidarity they need to bring hope and happiness back into their scarred spirits…


There is something romantic about Dora and Josué’s relationship and how together they grow, changing from once hardened cynics to heart-warming friends. The duo offer a vision of the difference between age and wisdom. They may both share a pessimistic, untrusting outlook on the world, but Josué proves often to be somewhat wiser when it comes to reading people. But he is so eager to grow up that we are quickly reminded of how young he is, such as comic moments where he talks naively about women and sex. Similarly it is cringe-worthy watching Dora cling to a fleeting relationship with a truck driver, but equally rewarding to see her proudly trade in her dumpy clothes for a floral dress and lipstick.

These superbly scripted characters are given real spirit by the actors. Fernanda Montenegro owns the character of Dora, so much that you could not imagine her any other way. The emotion that comes from her feels almost too real to be fiction. Similarly, to think that Vinícius de Oliveira hadn’t acted before is remarkable. His performance provokes a sad afterthought of what life experiences he must have suffered to be able to bring such depth of anger and sorrow to a character at such a young age.

Walter Salles has a wonderful way of visually portraying the characters’ internal and surrounding situation. To start with, when Josué is alone in the station, he is isolated by the shallow depth of focus, much like Dora is as she writes letters, unable to see beyond the one person in front of her. This combined with a monochromatic colouring to the scenes shows their closed perception to life and other people, as well as helping with the ever-growing bleak and hopeless tone. As the film progresses, Salles is able to show the gradual character changes through these mediums of focus and colour, revealing a striking, colourful and wide view of the world when at last Dora and Josué have their eyes and hearts opened to it. The result is a beautiful way of emphasising the empathy that the script builds for Josué and Dora.

Visuals are so important to this film in maintaining both emotion and metaphor; from the stunning wide shots of Brazil’s landscapes to a brilliant little shot of the train doors closing between the characters, Josué still visible through a gap as Dora cannot so easily shut him out of her life. It is truly a credit to the director and cinematographer that these images are so memorable for their beauty as well as their meaning. The passion that Walter Salles has for the country and culture strongly comes across in these images. As well as scripted moments, like placing Josué’s mother’s handkerchief on a memorial post, or singing songs in the back of a truck, there is a religious festival that they came across while location scouting and added into the film. Again, a visual treat but also a great insight into the culture and, more importantly, how Josué and Dora fit into it, or rather don’t, as the case may be.


A fantastic script goes so far, but directors like Walter Salles can drive it into greatness on screen. It is inspiring to see a filmmaker willing to let the story evolve through the filmmaking process, but without losing its core ideas, and the result is a beautifully told story. More than just emotional acting and stunning backdrops, Central Station leaves you with a sentiment that lasts; a genuine feeling of love for these characters. In fact Dora and Josué are not just characters; they are people that you will miss as the credits close on such a spectacular film. CM

REVIEW: DVD Release: Life Is Beautiful

Film: Life Is Beautiful
Release date: 22nd January 2001
Certificate: PG
Running time: 122 mins
Director: Roberto Benigni
Starring: Roberto Benigni, Nicoletta Braschi, Giorgio Cantarini, Giustino Durano, Sergio Bini Bustric
Genre: Comedy/Drama/Romance/War
Studio: Miramax
Format: DVD
Country: Italy

Life Is Beautiful was a surprise hit when it scooped awards galore at both Cannes and the 1999 Oscars. In a film industry that is awash with various visions and tributes to World War II, Roberto Benigni’s film chose to incorporate something very new into the genre, comedy. Set in an Italy under the influence of Mussolini and Mr. Hitler, how did Benigni’s take on the holocaust become such a widely recognised addition to films such as Saving Private Ryan and Schindler’s List.

Guido, a young Jewish man, moves to Arezzo in Italy with hopes of starting a new life, and one day owning his own book shop. In the years leading up to World War II, he struggles to fund his business plans, and so takes a job working with his uncle as a waiter in an esteemed city hotel. Guido meets a young school teacher, Dora, and is determined to win her heart. He goes out of his way to set up seemingly chance meetings with her going to the ballet, crossing paths on the street, and even posing as a governor at her school.

Dora is charmed by Guido, but reluctant to get involved with him. She is a non-Jew with a wealthy upbringing and, whilst working at the engagement party, Guido discovers she is engaged to marry a well-to-do Italian aristocrat. Guido finally wins her over, and despite the disapproval of her parents, Dora leaves her fiancée to be with Guido.

Years later, the couple are living happily together; Guido has his bookstore and a young son called Giosue. At this time, the war has already begun, and Italy is sliding closer towards Nazi law. Guido’s status as a Jewish Italian is becoming more and more vulnerable, and before long, he and his son are taken away to a concentration camp. Determined to protect Giosue’s innocence, Guido begins the facade to his son that everything going on around him is a game...


The enjoyment of this film lies heavily in the way audiences respond to leading man Roberto Benigni, the man who not only starred here but directed and co-wrote the film. This was no small feat, and with the weight of his involvement in the project came a mass of recognition and critical praise, most notably he beat Tom Hank’s to the 1999 Best Actor Oscar to the surprise of many. This surprise came not only as Life Is Beautiful was a little seen foreign film in America, but because, as a depiction of World War II, Hank’s Saving Private Ryan appeared a much more accomplished and historically relevant piece of filmmaking.

It is not unlike The Academy Awards to get it wrong (perhaps the Cannes success was even more of a shock), and it seems that what they missed in the cut throat realism of Hank’s performance was distracted by the charm and sentiment of Benigni’s. As a character, it is easy to see how so many fell for Guido, a man who is part cheeky chappy, part romantic, and part devoted father - even his final act is one of comedy in the face of fear. Certainly in the first half of the film, his almost Chaplin-esque antics are cleverly worked with the upmost charm, and even the most implausible of scenes (he rides on horseback into a dining hall) comes into the spirit of things.

It is in the second part of the film that Guido’s behaviour becomes more tiresome and evidently inappropriate to the subject matter. Benigni’s vision and ambition for this most unlikely of Holocaust films is clear and indeed commendable; he attempts to show that, even in the face of evil, the human spirit, love and a sense of humour can overcome all. This sentiment is an intriguing one but ultimately an unrealistic one, and as the horrors of the concentration camp are hinted at, you can’t help but feel Benigi should stop being the centre of attention.

His performance makes sure he steals every scene, and beyond all his endearingly lively charisma, we soon long for him to tone it down. This might not be felt so strongly were it not for the fact that to truly conceive the horror and proportion of these events, they should be shown with realism that truly reflects how unbelievable they were. With the arrival of the tank at the end, all the uplifting triumph of the story is unfortunately transformed in to the type of schmaltz that the Oscar’s go for time and time again.

 
In light of this film’s accolades, it should be considered a monumental success, but the knowledge that it swept awards with critical aplomb makes viewing it for the first time a complete surprise – it seems the Academy were more interested in recognising an underdog than awarding on merit. However, it is a sweet idea, and for many, Benigni will provide enough extravagance to make you smile throughout. LW

REVIEW: DVD Release: Hero

Film: Hero
Release date: 21st February 2005
Certificate: 12
Running time: 95 mins
Director: Yimou Zhang
Starring: Jet Li, Tony Leung Chiu Wai, Maggie Cheung, Ziyi Zhang, Donnie Yen
Genre: Action/Adventure/Martial Arts
Studio: Miramax
Format: DVD
Country: Hong Kong/China

While Zhang Yimou stuns audiences with this martial arts adventure where cinematography takes to the foreground, the message conveyed to some through the story has managed to spark debate over Yimou’s political implications of the film. But with the themes of love and war at centre stage in China, no less – what else can be expected?

Set in 3rd century BC China, the King of Qin (Daoming Chen) is on a mission to bring all the surrounding warring dominions in to one ‘united’ kingdom. Naturally, war is met along the way, sparking three illustrious assassins to seek personal revenge on the king, and end all the seemingly irrational destruction he is causing around the lands. For security, no-one is allowed within a hundred paces of the king unless proving their faith to him somehow. Enter Nameless (Jet Li), a warrior brandishing the three swords of the assassins (thus proving their defeat by his hand) who is allowed within ten paces.

Four different versions of the story ensue, each truer than the last, of how the assassins meet their demise. Essentially in all versions, there is first a battle between Nameless and Sky (Donnie Yen) in a chess house, where Sky meets his downfall. Then, there is a battle between Nameless and Flying Snow (Maggie Cheung), where she also loses out to Nameless’ unmatched skill. The third assassin, Broken Sword (Tony Leung), is also Flying Snow’s lover, and complications between the two allow for Nameless to obtain the last sword. However, there is a twist in the story, as it slowly becomes revealed that Nameless is not actually who he says he is, and now that he is within ten paces of the king, knowledge and righteousness put him to the test to discover if he really can be a true warrior…


Perhaps Yimou’s previous experience as a cinematographer influences the weight given to the film’s abounding aesthetic. However, credit must be given to this film’s cinematographer, Christopher Doyle, as the film is so amazingly visually rich. The individual versions of the story are told with different colour schemes; saturated primary colours, which provide evocative contrasts to otherwise beautiful but barren landscapes.

Tan Dun’s score provides a constant melancholy theme throughout, which is soft and dramatic, and nearly always present. This gives credence to the film’s existence as a piece of art as much as an entertaining film. Of course, drums are at hand for the fight scenes and moments of tension, which add authenticity to the Chinese culture of the film.

The storytelling should not be overlooked either. Its Rashomon-style flashbacks add layers of depth - four to be precise - to energise the story. They allow for not only four different stories to be told, but four different versions of assassin characters to be explored. In this way, Yimou gets to play with the audience by keeping it guessing until the very end.

It is difficult when watching and listening to a language so completely different from English to be able to fully appreciate what is being said, and how it is being expressed. From every other aspect that the renowned cast can be scrutinised from, none of them disappoint. They adhere to the choreography of the duel scenes with such natural ability, and although the expression of emotion is not at the forefront of the film, each carries a great weight of believability in their (many) roles.

We are not met with copious amounts of dialogue, and combat scenes fit to take your breath away seem to occupy more time in the film than any speaking. The general lack of conversation aligns with the elemental approach of the film, and so this is not a problem, however, the same ‘lost in translation’ issue can be said of the script. A western audience cannot be sure to receive the same message as what is understood by a Chinese speaking audience.

Following in the same vein, the most important feature in the film, Broken Sword’s depiction of the word ‘Tianxia’, accurately translates as ‘all under heaven’ (i.e. the world), whereas the western translation is ‘our land’, as in China. Both notions imply distinct differences, and hit on a critical debate over the film and Yimou’s intentions. Critics of Yimou have said the film’s approval by the Chinese government admit it to be a film of pro-totalitarian rule, of which Yimou has denied. Nevertheless the film certainly makes an impact politically, emotionally and visually.


Only those opposed to the wuxia genre may want to give it a wide birth, as there are a lot of combat episodes, however, those able to appreciate the elegance behind finely choreographed martial fighting, clever storytelling, and visual mastery will not want to miss it. MI

REVIEW: DVD Release: Life Is Beautiful

Film: Life Is Beautiful
Release date: 22nd January 2001
Certificate: PG
Running time: 122 mins
Director: Roberto Benigni
Starring: Roberto Benigni, Nicoletta Braschi, Giorgio Cantarini, Giustino Durano, Sergio Bini Bustric
Genre: Comedy/Drama/Romance/War
Studio: Miramax
Format: DVD
Country: Italy

Winning three Academy Awards, Life Is Beautiful was, for the most part, considered a great achievement by many critics. That's not to say it came without some harsh criticism from a few, who considered mixing comedy with themes such as the holocaust to be in bad taste. Life Is Beautiful is a film of two parts, opening with a light-hearted, comic first act, before moving into much darker territory. The film's second half explores the human spirit and its ability to survive, even in the face of one of the harshest environments imaginable - a German death camp.

The film is directed and co-written by Roberto Benigni, who also stars as Guido, a Jewish hotel waiter in 1930s Italy. Guido sports a larger-than-life personality, using his humorous disposition to free himself from many a sticky situation, and befriend those he meets on his adventures. Arriving in a new town, he quickly becomes infatuated with a beautiful woman named Dora (Nicoletta Braschi, Benigni's real-life wife), who is engaged to the town clerk. Dora soon falls for his charms, opting to leave her fascist fiancé for Guido.

Years pass, and Guido and Dora have a 5-year-old son named Joshua (Giorgio Cantarini). But there are stark differences to the town we witness earlier in the film. It's 1945, nearing the end of the war, and anti-Semitic graffiti adorns Guido's bookshop. As the town's Jews are rounded up and forced onto cramped trains, Guido, with his inexhaustible positive outlook on life, instinctively tries to turn the traumatic events into a game to comfort his son, Joshua.

Arriving at the death camp, Guido offers to stand as translator for one of the German guards, despite not being able to speak a single word of German. Guido seizes the opportunity to create an elaborate game for his son, explaining that the first person to reach 1000 points will be awarded a tank (not a toy tank but a real one). By creating such a fiction for his son, Guido is able to shield Joshua from the brutal realities of the death camp, laughing off suggestions that the German's are gassing Jews and turning them into soap.

Whilst Guido struggles with his son, he is also aware that his wife (who is not Jewish but insists on being taken to the camp along with her family) is imprisoned in another section of the camp. Guido juggles his responsibilities toward his son, whilst attempting to contact the woman he loves via any means at his disposal…


Life Is Beautiful is certainly a unique film, but, as some critics have asked, is this unique mix of themes necessarily a good thing? Roberto Benigni offers up some wonderfully comedic moments - that cannot be disputed. Guido offers a positive outlook on life that is certain to warm the hearts of many viewers. But what truly makes this film such an achievement is its ability to show that the human spirit can prevail in even the harshest of environments.

Life Is Beautiful is not a film about the holocaust - if it were, it would be a failure. The film is an exploration of a man’s ability to overcome extreme hardship. It achieves this, quite masterfully, by presenting us with the most high-spirited character imaginable, and throwing him into an unimaginably soul destroying environment.

Despite the film's comic outlook on the world, Life Is Beautiful respectfully handles its sensitive subject material. It never attempts to make wide, sweeping statements about the holocaust but, from the very outset, presents itself as an exploration of the human character.

Whilst there's a definite contrast between each half of the film, both complement each other perfectly. The first half offers some colourful, physical comedy, whilst initiating and developing relationships which are crucial to the latter half of the film. Sure, the film's second half features many comic moments, but we never forget the relationships forged in the film's first act and, as a result, truly sympathise with the characters as they are separated and forced into the German death camp.

The film's characters are vibrant and loveable, and there are wonderful performances from the entire cast, most notably Roberto Benigni and his onscreen son, Giorgio Cantarini. The film's memorable and witty dialogue only adds to the impressive performances, truly bringing the film to life.


Given what Benigni set out to achieve, he was right to mix light-hearted comedy with such dark themes. There are so many places where Benigni could have gone wrong with Life Is Beautiful, but he pulls it off perfectly. The film is unique, inspiring and deserves the credit it has been awarded by many critics. ME

REVIEW: DVD Release: Hero

Film: Hero
Release date: 21st February 2005
Certificate: 12
Running time: 95 mins
Director: Yimou Zhang
Starring: Jet Li, Tony Leung Chiu Wai, Maggie Cheung, Ziyi Zhang, Donnie Yen
Genre: Action/Adventure/Martial Arts
Studio: Miramax
Format: DVD
Country: Hong Kong/China

Zhang Yimous’ sumptuous historical warrior epic certainly lives up to, if not surpasses, the two years of excited hype that this is the most expensive Chinese film ever made. Falling firmly within the wuxia genre, this breathtaking (although sometimes mind boggling) piece of cinematography softly coaxes you through a dramatic journey of loyalty, love and sacrifice that deals with both personal and political issues without feeling as though you are having to wade through a torrent of boringly obvious morals and ethics.

The determined dream of King Qin (Daoming Chen) to become the first emperor of China draws the attention of three deadly assassins from neighbouring warring kingdoms. It seems as though there is nobody who can defeat the killers until an enigmatic nameless warrior, surprisingly called Nameless (Jet Li), appears to seek a private audience with the naturally wary king.

Nameless claims to have battled and beaten all three of the king’s enemies - Broken Sword (Tony Leung), Flying Snow (Maggie Cheung) and Long Sky (Donnie Yen) - and modestly explains the details of the slayings. Even with the dead assassins’ weapons as proof of their demise at his feet, the king is unconvinced and proceeds to put forward a completely different version of how he thinks events played out.

Two powerful men with two opposing powerful stories, but which is the right one?


The actors carry off a solid set of performances, creating powerful, complex characters. Particularly of note is Jet Li’s portrayal of Nameless, our perfectly inscrutable hero warrior, who manages to subtly layer his character, leaving the audience questioning whether his motives are entirely honourable and honest. Maggie Cheung’s never faltering grace and beauty also shines through by combing a lethal combination of femme fatale with the ability to slay opponents with the ease of a warm knife through butter.

The director stretches the delicious battle scenes so that they make up a huge portion of the film, and revised in different ways according to who is telling the tale. Time is taken to create a tantalising flow of impressive frames that only serves to whet the appetite for the next. The direction is wonderfully unique, a prime example being when Nameless and Long Sky are engaged in battle purely in their minds. It is undoubtedly amazing visual art, but the audience would be forgiven for thinking they were being deliberately swept away by the set design to detract from the sometimes dubious plot points.

But, to be honest, it’s hard to care or be bothered to rack our brains over such mere doubts when there is so much more to be inspired by. Christopher Doyle is in charge of photography and has managed to create a masterpiece. Whether it’s the goose pimple inducing battle sequences, the majestic serenity of the floating assassins, or the fantastically vibrant use of nature and landscape that takes your breath away, it’s the perfection of imagery that makes Hero a must to watch.

Although the backdrop is arguably one of the most beautiful in cinematography, the halting nature of the narrative doesn’t give the characters enough opportunity to open up and develop to their fullest potential. Confusing changes in the storytelling and the battle scenes means the audience spends more time trying to figure this out and has less time concentrating on the characters. Subsequently, the film lacks the emotional appeal that made Crouching Tiger Hidden Dragon such a winner.

Still, Zhang Yimou certainly has succeeded in making a special martial arts spectacle, although to merely class Hero as a martial arts film doesn’t give justice to the sublime richness of the movie. Although the warriors float around the screen as if part of a tightly woven, intricate dance, the audience knows that the possibility of blood, pain and death is ever present - a poetic brutality if you will - but these moments are kept comfortably waiting in the wings whilst the senses are overwhelmed by the genius of the picture.


All in all, this beautifully beguiling story is a timeless action movie, a heavyweight title clincher that will enjoy both commercial success as well as satisfying lovers of foreign films. At times lacking in plot substance and slightly confusing which, possibly, has been anticipated by the director, prompting the use of colour coding to indicate through which eyes the story is being told and also the individual stages in the story. However, this is a mere spot of rust in an otherwise impeccable suit of armour. Hero is an awe inspiring experience that should be sought by all movie lovers. 

REVIEW: DVD Release: Hero

Film: Hero
Release date: 21st February 2005
Certificate: 12
Running time: 95 mins
Director: Yimou Zhang
Starring: Jet Li, Tony Leung Chiu Wai, Maggie Cheung, Ziyi Zhang, Donnie Yen
Genre: Action/Adventure/Martial Arts
Studio: Miramax
Format: DVD
Country: Hong Kong/China

Finally, two years after its creation, and as a result of severe petitioning to Miramax Studios from Quentin Tarantino, Zhang Yimou’s Hero obtained its western cinematic and unedited DVD release. Following in the mould of its spiritual predecessor Crouching Tiger Hidden Dragon, Hero is a succession of sweeping landscapes, vivid colours and high wire action that sees Jet Li return to his native China to assume the lead role.

Summoned by the King, an orphaned warrior, Nameless, is hurriedly ushered through the gates of the palace so as to confirm a miraculous achievement. Presenting the Prime Minister with three boxes, each containing the weapons of three powerful assassins killed by Nameless, he is permitted into the throne room to drink tea with the King.

The King is a single-minded militant who wages war on the other regions in China, yet his philosophy is to do so not for personal gain but to make the nation strong, unifying them under a single leadership and language. Eager to learn how this mysterious warrior, who held a position of nothing more than a mere local Prefect in his Kingdom of Qin, defeated these assassins, the King invites Nameless to recount his feats. Nameless states he does not possess the abilities to have defeated them collectively yet reveals by separating and confronting each assailant individually he knew he would be victorious.

While it is widely known Broken Sword and Flying Snow are lovers, Nameless reveals that the couple had not spoken to each other in three years because of an illicit encounter Snow had had with the third assassin, Sky. Shown through flashback, Nameless, having infiltrated a calligraphy school in Zhao, reveals to the remaining martial arts masters the remains of Sky’s spear, claiming that Snow's compassion would lead her to avenge his death. This revelation leads to a startling and spiraling sequence of events where Broken Sword, distraught by the actions of his paramour, engages in sexual gratification with his student Moon to earn Snow’s resentment. Snow in a fit of indignation and rage retaliates by killing her former lover. Nameless, in the hall of the King, states this emotional unsettling as a result of the cunning plan he had instigated made the disposal of Snow in combat a formality.

After pondering this lavish tale, the King of Qin announces he has been deceived by the orphaned swordsman, and professes his own entirely new account of what transpired…


With directorial projects that have earned him Golden Bear’s and the elusive Grand Jury Prize, it is unsurprising that Hero exudes the confidence of a director who is comfortable in his craft. Hero is a visual feast as Zhang sculpts beautiful, if not iconic, imagery from the shifting landscapes of Chinese deserts through to the poetic motions of his actors’ choreography. It is impossible not to underestimate the painstaking effort that went into making sure the director achieved perfection in every single scene, as not one inch of the screen is wasted or not deliberately thought out. For the fight scene in the forest, between Maggie Cheung and Ziyi Zhang, Yimou Zhang had a man spend days there purely to inform him of when the leaves began turning yellow so that the director could achieve his vision of the juxtaposed yellow and red colours. Not simply this, but the lake scene involving both Cheung and Tony Leung could only be filmed for two hours a day because this was the only time the waters in the lake would be still enough to create the mirrored effect desired.

Yimou Zhang’s dedication to faultlessness in his artistry is the primary reason Hero is undeniably hypnotic in the sheer scale of its visual palette, but he accompanies this with an interweaving sequence of stories. When Jet Li’s Nameless delineates the fits of jealousy his craftiness sent Broken Sword and Snow into, the film and the characters are awash in red. From wearing red robes through to the red calligraphy house, there is a striking statement being made. It is only, however, when the King begins his hypothesis that the colours start to resonate as being more than just bright garlands when the same characters and school are depicted in a calming blue.

Zhang’s colour coding typifies the emotional thought processes of the characters, where red symbolises passion and rage; blue is representative of sacrifice; green is the exemplification of mercy; while white, as the closing of the thematic colours, can be interpreted as truth, birth or death. While the director has been quoted as claiming the colours bear no direct correlation to any one theme, this must be taken with a pinch of salt for Zhang is undoubtedly aware of the symbolism he himself must attribute to each shade - his declination of a definitive response has created much discussed ambiguity and subsequent publicity.

At its heart, despite the kaleidoscopic opticals, Hero is a martial arts film. Thankfully the high-wire choreography does not overly bend the rules of physics so as to feel nonsensical, but does so just enough to gift his characters an ethereal and benevolently enlightened feel. Despite Jet Li and Donnie Yen being the only schooled martial artists in the primary cast, the remaining protagonists all undertook weeks of training, and the result is there as evidence to the hard work they put in. Not one scene is compromised as a result of an individual’s inability - all the actors are beautifully convincing as they glide through air, bounce off lakes and pull off remarkable feats of dance-like combat.

There are criticisms that Hero, for all its breathtaking visuals, harbours an overriding doctrine of unification, and a philosophy that supports an individual's desire to bring peace to the masses through blood thirsty conflict and totalitarian rule. There are certain parallels that can be made to modern day China leading to a school of thought that Hero is pro-communist propaganda. However, as with the meaning of colours, Yimou Zhang’s true reasoning is open to interpretation by all, and while from a certain standpoint it is difficult to ignore these observations, it is also difficult to ignore the seemingly obvious that his story is based on history, and that certain events cannot be changed. Eastern cinema has a great penchant for the philosophical, endowing the perceived antagonists with moral codes, blurring the lines between 'good' and 'bad'. Yet the reasoning in this instance may be as simple as the director choosing to implement his poetic license, but then in Hero, nothing is ever quite as it first seems to be.

While some may have an unwillingness to swallow the simple premise as a means for justifying ninety minutes worth of sword-clanging, finding it a tedious exercise in high-wire showboating, it is impossible to deny the sheer beauty which resonates throughout this sumptuously narcotic feast.


Whether it be through majestic landscapes, the vibrancy and range of striking colours on show, or the graceful movements of some of China’s finest stars, Yimou Zhang champions a case for style when done with substance. BL

REVIEW: DVD Release: City Of Men

Film: City Of Men
Release date: 23rd February 2009
Certificate: 15
Running time: 102 mins
Director: Paulo Morelli
Starring: Darlan Cunha, Douglas Silva, Rodrigo Dos Santos, Camila Monteiro, Jonathan Haagensen
Genre: Crime/Drama
Studio: Miramax
Format: DVD
Country: Brazil

Three friendships, three betrayals, three tales to tell… Paulo Morelli delivers his take on the lives of the residents of Dead End Hill, where veiled truths are uncovered causing friends to become foes, lives to be lost and boys to become men. Amid a plot overflowing with passion and the prominence of personal growth, pardon and partnership; City Of Men conveys juxtapositions of the grim and the grand outcomes for treachery or disobedience of the unwritten rules of Rio de Janeiro.

Reminiscent of City Of God, City Of Men illustrates life in the favelas/slums of Rio de Janeiro, yet this time the plot is assembled around not just the strive for endurance and victory, but for a break in tradition.

We join best friends, Laranjinha and Acerola, two teenagers who, on the brink of turning eighteen, have never had any paternal influence and discuss how this has affected them. It appears from the beginning that Laranjinha is more affected by his absent father than his comrade Acerola, who at the tender age of 17 entered paternity himself, and so Acerola sets out to track down his best bud’s father in time for the details to be on his ID when he reaches 18.

However, when Acerola does locate Laranjinha’s father, Heraldo, they soon ascertain that not only is he an ex-con but he has no more interest in being a father to Laranjinha now than he did eighteen years ago, instantly dismissing any chance at a newly formed association with his son. Despite this, a persistent Acerola is spurred on by his own knowledge and experiences of life without a father figure, and eventually persuades Heraldo to give his son a chance in his life…


Laranjinha and his father bond greatly and there appears to be genuine hope for the two at becoming the father and son they should always have been. That is until Heraldo refuses to let the newly homeless Acerola stay the night whilst giving his son the choice of staying with him or retreating to the streets with his pal, and a confused and besotted Laranjinha chooses to stay at home with his father, risking everything with his should-be paramount companion.

Alongside the camaraderie of the two young men, we are also introduced to that of Madrugadao and his subordinate Nefasto - an alliance which almost instantaneously is under pressure and in effect turns sour; provoking a fresh warfare - the fight for tenure of aptly named Dead End Hill.

The young men’s relationship fluctuates from sturdy to fragile as the facts about each others’ fathers is exposed, and they get separated and become enemies in their home town war. Yet the central issue to the plot is this: can such a liaison withstand the tests of time and be rectified after hidden realities have been uncovered changing everything they once knew and believed in?

Highly involved with the father’s role, Paulo Morelli stresses the effects of absent fathers, both good and bad, but most importantly strives to portray the message that a father is not so much vital, but definitely imperative. We see this exemplified beautifully during the end scene with Acerola and his son Clayton, as he sets an example in everyday tasks like crossing the road safely.

Featuring similar cinematography to City Of God, with high angle sweeping shots and impacting customary Brazilian music accompanying the action, City Of Men hits home the sincerity of the events on screen, urging one to feel a part of the highs and the lows of the character’s experience. The beach scenes in particular are impressive; wherein the sun kissed skin of the locals is breathtaking, creating a want amongst the viewers’ thoughts to be there enjoying the dancing rays.

This leads to the main and well deserved praise, which must go towards the actors, some of whom also starred in City Of God and were simply residents of Rio de Janeiro prior to the two films. The natural wit, grace and ability to convince airing from each and every character is hugely evident, a product for satisfying viewing and scrutiny, where emotions are, at times, elevated, and at others dragged down, reaching a dramatic climax where a gratifying sense of catharsis is achieved.

The only negative: it is hard not to compare the film to the classic City Of God, and in doing so you find faults which otherwise wouldn’t have registered. Firstly, the introductory scene of City Of God has the ability to astound and intrigue instantaneously whereas City Of Men, notwithstanding a good opening scene, and one that attracts also, is one which doesn’t blow the viewer’s mind to the same influencing extent. Throughout City Of Men and City Of God, we get to grips with the personalities of each character wanting them to thrive, we feel a part of their lives through the great shooting and connection-provoking storylines, but there is an all more powerful a correlation felt to the characters in City Of God - perhaps due to the audience proceeding through their voyage from boys to ‘men’? In addition, the impact the film has as a whole on the viewer stands to prove that City Of God is a remarkably hard hitting film.

The appropriate comedy facet alongside convincing and quick witted one-liners (“Hot my ass, a gangster never feels the heat”) helps push the boundaries for Morelli here, although again not as effective as in City Of God, but still it alleviates the deadly mood and relaxes the viewer before the next blow. This is much needed, with action packed gun possession and ultimate murder on Dead End Hill where nothing is off limits when possession is at stake.


With the accent upon survival of the fittest, and the urge to “retrieve what is rightfully yours,” salvage is a key motive for the characters and factor for the entire stratagem within City Of Men. In a rousing story screened with raw sensation using a fatherless, foolish and foreboding cast, we get to view a beautiful work of art, which is actually fast, fresh, fearless and forward thinking. VMF

REVIEW: DVD Release: City Of God

Film: City Of God
Release date: 7th July 2004
Certificate: 18
Running time: 102 mins
Director: Kátia Lund & Fernando Meirelles

Starring: Phellipe Haagensen, Matheus Nachtergaele, Alexandre Rodrigues, Leandro Firmino, Seu Jorge

Genre: Crime/Drama
Studio: Miramax
Format: DVD
Country: Brazil/France

Director Fernando Meirelles, breaks the mould with his commended and extravagantly nominated City Of God where accomplishing one’s desires are not as basic as they are in his 2001 film Domésticas, for example. Derived from the flourished novel of the same name by Paulo Lins, City Of God bids you to Rio de Janeiro to ascertain why “Hoods don’t love, they desire. Hoods don’t talk, they smooth talk. Hoods don’t stop, they take a break.”

This tale of the City of God, based upon true events, is initiated by way of narration from the leading role, budding photographer, Rocket. Through Rocket’s recounting experiences as a youth growing up in Rio de Janeiro, we learn of his journey, and those of his fellow friends and foes.

The City of God is depicted not just through the nostalgic Rocket, but also via melancholic, yet somehow idyllic landscape shots. The city, Rocket explains, was a place where people came “to find paradise,” and this is simply the beginning of the recurring notion within the film that the people of Rio de Janeiro struggle most of their lives reaching for fulfillment of their desires.

Rocket tells the stories of various young men he grew up alongside, although he mainly focuses upon the accounts of two central and vital characters - Benny and Lil’ Ze. In doing so, he exemplifies the true face of Rio de Janeiro’s City of God; one wherein the locals were, as reported by Rocket, “too far removed from the picture postcard image of Rio de Janeiro.”

As the anecdote begins, the City of God appears to be a place filled with soul, energy and love, and what follows on screen for most of the 130 minute running time is most definitely a mixture of these elements. However, as the plot begins to unfold, these fundamentals are overwritten by the sheer darkness, violence and sorrow experienced, yet also sadly contributed to by its inhabitants...


With such an intensely fuelled action-packed opening scene, it’s no wonder Fernando Meirelles has done so healthily with his 2002 film. It is impossible not to be hypnotized by Meirelles’ clever use of speedy sweeping and prompt freeze shots, alongside the magically energetic traditional Brazilian music flowing throughout the introductory scene. It is here we are subjected to a somewhat amusing, if nevertheless imperative frantic chicken chase, wherein the elegantly swift camera work creates a scene which one can almost feel a part of. We watch as an alarmed and anxious chicken observes his poultry pals being slaughtered without any hope of survival. However, it appears that the chicken believes there is a better option and makes a break for it, but not before the residents of the City of God spy the run-away bird and pursue it. There seems to be a preliminary metaphor here for the hopeful citizens of the City of God tying in greatly with the film’s tagline: “If you run, they’ll catch you... If you stay, they’ll eat you.” Perhaps the message Meirelles is aiming to render is that in the City of God, there is no way out of the city’s constraints - no happy ending. This is further portrayed through the tragedies that occur around individuals where they learn the hard way that attempting to flee the city can have dire consequences.

Rocket tries his best to stay out of any trouble that occurs within the City of God, despite many of his peers being involved from ages as young as 12, and his brother being a member of the Tender Trio (Goose, Shaggy and Clipper) - an infamous gang back in the 1960s but who are described as “amateurs” compared to the next generation of hoods who flourish as a result of the Trio’s influence - Lil’ Ze (formerly the child gangster Lil’ Dice) and Benny, his childhood buddy, are the two most prominent.

In the 1970s, the two boys enter adolescence and, along with it, become eminent for their transgression packed lives, featuring little more than guns, drugs, music and violence. However, Lil’ Ze and Benny couldn’t be more distant in their approach to handling situations and everyday life - Lil’ Ze, quick to jump at a chance for bloodshed and danger, is usually calmed down by his comrade Benny, who opts for rationality, peace and love.

The film depicts other characters who play critical roles, such as drug-lord Carrot and, eventually, even the cautious and civil Knockout Ned is caught up in the havoc wreaked upon the City of God, where the quest for survival can sometimes become superior to the quest for the accomplishment of aspirations - proven as the young characters learn the hard way how either option can result in death: “The slum had been purgatory, now it was hell.”

Meirelles unites a couple of romantic scenes, together with a little comedic air, alongside heart wrenchingly poignant moments, blends them up with the brutality, felony and shock capacity to produce a work of art that has it all - a picture that will have you wondering which emotion you shall experience next! Fernando Meirelles has outdone himself in this masterpiece of Portuguese cinema. Still, a lot of his acclaim should not only rest on his vast skills as a director but on the perfect cast he chose, and their dazzling ability to move their audience to such a large degree.


In what seems the product of inspiration from directors Quentin Tarantino and Martin Scorsese, Fernando Meirelles delivers an outstanding and gripping film. Differing from his previous material, the Brazilian director encapsulates the City of God and its habitants’ mesmerising rawness in a way one rarely views within cinema. VMF