Film: City Of Life And Death
Release date: 27th September 2010
Certificate: 15
Running time: 135 mins
Director: Chuan Lu
Starring: Ye Liu, Gao Yuanyuan, Hideo Nakaizumi, Wei Fan, Yiyan Jiang
Genre: Drama/History/War
Studio: High Fliers
Format: DVD
Country: China/Hong Kong
Writer/director Lu Chuan’s film, City Of Life And Death tells the whole harrowing story of the Massacre at Nanking in austere black-and-white, leaving absolutely nothing to the imagination.
For many, World War II began in 1939, but for China the war came to its doorsteps a lot earlier. City Of Life And Death takes place in 1937, a time during the height of the Second Sino-Japanese War. The Japanese army have just captured the then capital of China, Nanking, and continue to control the city for a further six weeks.
The film depicts the times and troubles of the people of both the Japanese army and the Chinese and foreign refugees left stuck in the ‘Safety Zone’, set up by well known historical figure John Rabe. This is done through a number of different stories from a wide range of sources, some historical and some entirely fictional, including a Chinese soldier leading the last efforts against the invaders, a schoolteacher turned John Rabe’s secretary, and a Japanese soldier led to question his country’s actions…
When it comes to Asian films about the war, they have a tendency to attempt making amends or try to deal with their or other countries’ atrocities during the war - City Of Life And Death also keeps its thoughts and theories on the matter solidly within the rules of that said trend. Although a Chinese/Hong Kong film about one of the worst events to occur before the war, the filmmakers still give Japan a voice of reason through the Japanese soldier who questions the situation around him. The soldier is played by Hideo Nakaizumi, a new, young and upcoming talented actor, in the end chooses to defy his country and their intentions through some radical actions.
City of Life and Death is without a doubt one of the most shocking insights into an event which could be considered overlooked or untold. Some of the film’s scenes will shock audiences to a degree where they may not wish to continue watching. Although the film’s content may be off-putting to some audiences, and indeed quite hard to stomach, if seen all the way through City Of Life And Death’s resolution gives viewers an intriguing and stimulating viewpoint from which they are able to make their own conclusions, rather than being taught.
The use of handheld cameras during the film’s battle situations, and moments of panic and chaos are used extremely effectively. Much like with any war film or indeed any film with a car chase or fight scene, the handheld effect gives the viewer an immersive feeling of actually being there. Its use within City Of Life And Death, which although giving the viewer that same feeling, is also used in stark contrast with the scenes that follow the action sequences. Scenes such as the executions which almost immediately followed the battle scene, switch to steadicam, and use long lengthy shots with very few cuts or edits to elaborate on the horror and anticipation of what’s to come.
Another interesting technique used in the film is the director’s choice to shoot the entire film in black-and-white. Much like other feature films about war, this gives the story a simplicity which then, in turn, allows the audience to focus fully on what’s occurring. The lack of colour also hides a great deal of the physical violence and blood, which, if uncensored, would perhaps turn many audiences stomachs. The black-and-white contrast also gives the film’s message a stark and bleak tone, which is completely unaltered by bright colours or flashy exciting lighting. Instead the message comes across in its bare essentials, leaving nothing to distract the imagination.
Again to illustrate the tone and underlying message of the film, City Of Life And Death uses very little dialogue and, at times, sequences can continue for lengthy periods without a word. The lack of dialogue, which although enables the viewer to concentrate wholly on the horrific circumstances the people of Nanking had to endure, it also seems unnecessary to have any words at all. In fact, the entire film could have run completely on actions and had the exact same impact.
The film’s powerful images are either artistically beautiful or ruthless, unapologetic and astounding. City Of Life And Death’s most powerful images are of actions and reactions. The reactions are told through the facial features of a various people of all ages and, in particular, that of each character during their individual story.
The acting within the film is unfaultable and superb, and performances of particular merit go to Ye Liu who plays the Chinese soldier caught by the Japanese and sentenced to be executed. Ye Liu, who only speaks a handful of words, performs an intense and truly intriguing insight into the mind of a man brought to the edge having exhausted all abilities and outlets to resist becoming a victim.
City Of Life And Death is a powerful, outstanding and severe account of the stories and tales told through the victims and the oppressors during the massacre of Nanking. The film attempts to deal with the horrific and inhumane circumstances that the remaining people of Nanking had to endure. LS
