The Flowers Of War

I’m surprised that I want to write about Zhang Yimou’s The Flowers Of War. Not because it was bad. Quite the contrary. It’s actually very good. Stunning in fact. But I’m surprised that I’ve chosen to write about this particular war film for the simple fact that it’s not the best I’ve seen, yet something about it has really gripped me, and I can’t stop thinking about it. Yimou, of House Of Flying Daggers and Hero fame has crafted something quite spectacular here.

Based on the novel ‘13 Flowers of Nanjing,’ by Geling Yang, The Flowers Of War tells the story of a group of young Catholic girls trapped in their convent during the “Rape of Nanjing” at the time of the Second Sino-Japanese War. A mortician from the United States, John Miller (played, surprisingly, by Christian Bale) stumbles upon the convent, posing as a Priest to protect the girls, whilst offering shelter to a group of flamboyant prostitutes from Nanjing’s red light district. As Japanese forces conquer the city, Miller vows to get the girls out of Nanjing before they are all killed. The plot sounds a tad ridiculous and I was wary of investing time in it, but Yimou’s war epic makes for fascinating and compelling viewing. 

John Miller (Bale) poses as a Priest to help the convent children.

First off, I have to say the cinematography is breath taking. Chinese film has really pushed the boundaries in recent years, rivalling, even surpassing Hollywood in visual terms. Yimou throws us right into the deep end from the ‘get go,’ plunging us into the heart of battle. The violence never feels gratuitous or melodramatic; Yimou wants to show us the unflinching barbarities of war, its representation one of the best I’ve ever seen. Yimou counteracts this chaos with beautiful, lingering shots of the convent that the girls are trapped in, a safe haven amongst this hell. I particularly enjoyed the transition of steady, sweeping shots in the convent to the shakiness of the handheld camera outside the church walls. Yimou disorientates us when he explores the streets of Nanjing, yet that’s exactly as it should be, and the film is stronger because of it. Maybe this is where Chinese cinema surpasses Hollywood. Yimou is not afraid to show us events that many directors would usually shy away from. The brutality of the Japanese soldiers is played out in front of us in excruciating detail, whether it be the execution of children or the rape of women. There's no holding back here and some of it is incredibly uncomfortable to watch as I'm sure was intended.

I love Yimou’s use of colour. It plays a large role in the film whether it be the dark, dusty greys in war torn Nanjing or the incredible multitude of colours that radiate from the stained glass windows of the convent. Topped off with a simple, haunting and delicate score, The Flowers Of War is a technical triumph.

Prostitutes from Nanjing's Red Light District arrive at the Convent seeking shelter from the invading Japanese.

That's not to say the film is without its problems. Christian Bale has always been a ‘hit or miss’ actor for me. I could rave for hours about his performances in films like The Fighter, American Psycho and Empire Of The Sun yet others like The New World, Reign of Fire and Little Women leave a lot to be desired. Even his portrayal of Bruce Wayne in Christopher Nolan’s ‘Dark Knight Trilogy’ isn’t really praise-worthy. There have always been stronger actors in the Batman films that have reached new heights of brilliance while Bale seems to get left behind. His performance in The Flowers Of War is a mix of both, and I think he’s hindered by the script. Having a high profile Hollywood actor play the part of John Miller is somewhat confusing. Why, I kept asking myself, does he have to be American? Nationality plays a big part in the film as you’ll see if you watch it, yet I don’t think the mergence of Chinese and American cinema is quite as smooth as it could be, and it shows here in some respect. Some of the dialogue between characters is jilted at times as a result of this. Having said that, there are elements of truth here. Americans did, apparently, attempt to help Chinese civilians when it emerged that the Japanese were not attacking ‘Westerners.’ It doesn’t help, of course, that Bale (in my opinion) is once again ‘out-acted’ (if there is such a phrase) by his young Chinese co-stars who turn in some ridiculously good performances as the young convent girls. Special mention must go to Huang Tianyuan and Zhang Xinyi. It must be hard, at a young age, to appreciate the gravity of themes and issues explored in such films, yet these two are totally believable in their portrayal of two girls clinging to survival in war. 

The prostitutes and convent girls meet for the first time.

The arrival of the prostitutes is interesting. Many of the reviews I have read claim that the film’s more pressing issues arrive along with these new characters. I disagree. The group dynamic between the convent girls and prostitutes, the ‘saints’ and the ‘sinners,’ is intriguing to watch and fascinating to explore. Of course, a sub-plot regarding the mutual attraction between John Miller and Yu Mo (Ni Ni) is included and rushed through, which adds unnecessarily to the two hour and twenty minutes run time, yet it’s a small issue.

Yu Mo and John Miller.

Other scenes in the film seem out of place, ridiculous even. Two of the prostitutes, for example, flee the convent and journey to their brothel to gather strings for their instrument so they can play to the dying soldier who they are caring for in their hideout. Another scene where the prostitutes play a song for the convent girls descends into something of a farce and there’s no real place for it in context. I hate to say this, but it’s laughable. By all means, inject humour where humour can be injected, but don’t force it on your audience. The Flowers Of War sets its sombre tone too early on in the film to then throw such strange and weird scenes at us as it heads towards its climax.

The Flowers Of War is quite special. Deep, emotional and thought provoking, Zhang Yimou continues his winning streak here. It’s not perfect, but it’s definitely something you should see. The film only has a 41% approval rating on review site, Rotten Tomatoes, which, quite frankly, baffles me. Many have compared this to City Of Life And Death, another film that deals with similar events. Apparently, it’s superior, although I cannot judge as I have yet to see it. Judging The Flowers Of War on its own merits, however, I can safely say that this comes highly recommended. 

Rating: * * * *

The Avengers (Marvel)

THIS REVIEW CONTAINS MINOR SPOILERS.

I think I would be wary to claim The Avengers – yes, it’s called The Avengers. None of that Marvel Avengers Assemble rubbish – is my favourite superhero film of all time. In fact, I’d be hesitant to say it’s my favourite Marvel film. I’m not saying that it isn’t, but upon exiting the cinema, I was so ecstatic, so fulfilled by Joss Whedon’s epic, I think I would have been willing to say it was the best film ever made. Having taken some time to think about it, however, I think I’m in a better position to write a critical response. 

To put it bluntly, The Avengers is fantastic. Really fantastic. Director Joss Whedon has created a fast paced, expertly written, state of the art, cinema romp: the very definition, in my opinion, of what ‘going to the movies’ is all about. The Avengers brings together Marvel’s best. The Hulk, Captain America, Iron Man and Thor (amongst others), must join as one in an attempt to stop an alien invasion of Earth. I doubt this bonanza will soften the hardest of Whedon’s critics or convert the greatest of 'superhero genre doubters,' but for those who have invested their time in Marvel’s output in past years, this is the ultimate payoff. 

Iron Man and Captain America... in the same film.
Pretty cool, right?

The plot, of course, is complete barmy, but somehow it doesn’t really matter. I doubt anyone was really expecting a groundbreaking story anyway. The Avengers is very much an ensemble piece. A lot of the film’s best moments stem from scenes where our heroes interact with one another. The introduction of each character is quite pacey. Thor, for example, doesn’t appear until nearly thirty minutes in. Captain America, by that time, has already taken part in one of the films smaller action sequences. As a result, the first half is very dialogue heavy. This is by no means a criticism. The Avengers soars because it isn’t tied down by an origin story and I enjoyed the first hour a lot more than the second; Whedon highlights the disparity between heroes, the clash of egos and the brawls that ensue. Indeed, a standout moment for me is the brilliantly choreographed fight between Thor and Iron Man. It may seem a strange moment to highlight but this conflict turns the whole superhero genre on its head. Our characters, it seems, are a little (or a lot!) self centred. Suddenly it’s all about them, and not, as we might come to expect from this type of film, about good overcoming adversity, at least not right away. As Bruce Banner states mid-way through, “We’re not a team. We’re a time bomb.” 

The Hulk rips into an F-35 Fighter Plane.

Whedon’s script is perfectly acted by the film’s main players. Mark Ruffalo as the Hulk delivers the standout performance. He plays a more subtle Bruce Banner than Edward Norton or Eric Bana (the two actors who played the previous two incarnations) but somehow manages to hold more gravitas and the decision to use motion capture gives Ruffalo’s green monster a humanity that was distinctly lacking in Marvel’s other big screen adaptations. Robert Downey Jr, of course, has the best lines, even though it is the Hulk that provides many of the film’s genuine laugh out loud moments. The weakest of all, I think, has to be Chris Evans as Captain America, but perhaps that’s because his character is solemn throughout the entire film. Chris Hemsworth’s performance is good, but I don’t think the script allows him to explore his character’s emotional turmoil. After all, it is his brother who attempts to destroy humanity. Whedon’s script hints at this anxiety, but never fully develops it. Oddly, Thor is sidelined too much and given the least to do. A minor criticism, but a noticeable one. Scarlett Johansson excels in her role as Black Widow. She has, without a doubt, the best 'introduction' scene. Again, I would have liked to see more of her character. Tom Hiddleston, one of Britain’s biggest rising stars, is excellent as Loki, balancing menace and humour, sincerity and malignance. Hawkeye, however, emerges as my favourite. Jeremy Renner is neither outstanding nor terrible in his part, but his contribution to many of the action sequences is fantastic. Everyone brings their own quality to The Avengers. Take one character out of the film, and I doubt it would be as good.

The Avengers Assemble in the film's
final act.

The Avengers’ third act is relentless. Whedon provides die-hard enthusiasts with enough action to sate their hunger until the next slew of sequels are released. More importantly, he has fun with his film. Characters established, plot in full flow, Whedon unleashes a bombardment of good, old, cinematic entertainment. 

Funny, thrilling and downright awesome, The Avengers is the first true summer blockbuster to hit our screens this year. It certainly deserves to be a hit, and god willing, the next instalment of Marvel sequels will culminate in Avengers 2. I, for one, cannot wait to see these characters interact once more. The Avengers demands multiple viewings. When I see it again, my favourite characters will no doubt change and my highlights will probably differ somewhat but that's the fun of it all. The Avengers is by no means perfect, but as superhero films go, it’s pretty darn cool.

Love Never Dies

Love Never Dies, the sequel to Andrew Lloyd Webber’s, The Phantom of the Opera has somewhat of a chequered history. The unjustly maligned show was plagued with negative reviews before it had even opened to the public in March 2010. So passionate were ‘phans’ of the original, that the idea of a continuation seemed absurd, many carrying out personal vendettas against the show, forming a protest group aptly named Love Should Die. I saw the show twice in London and loved it. In a time where ‘juke-box’ theatre is taking over the West End, this sweeping, gothic fantasy was a refreshing piece that carried the storyline that many people know and love into new and daring places. The damage, unfortunately, had already been done, and Love Never Dies closed after a disappointing 18 month run. Not one to give up, Lloyd Webber, convinced this work was amongst the best he had written (and I agree!), allowed an Australian company, lead by Simon Phillips, to create an entirely different production. The result can be seen in a worldwide DVD and Blu-Ray release of this astounding, incredible piece of theatre. 

 

Love Never Dies picks up the story ten years after the events of The Phantom of the Opera have occurred. The Phantom flees Paris for New York where he lives amongst the freaks and oddities of Coney Island. Yearning for his love, he lures Christine Daaé, her husband Raoul and their young son Gustave to his glorious world in an attempt to win back her love, unknowingly setting off a chain of events that will have devastating consequences for them all.

Coney Island in Love Never Dies

Phillips’ production really is a sight to behold and I can only imagine what it is like to experience its magnificence in a live theatre. My one criticism of the London production was that it never used its greatest asset: Coney Island itself. Endless possibilities were ignored and forgotten in Love’s first incarnation, a point that Phillips addresses by making sure that we see the Phantom’s world in all of its glory. Gabriela Tylesova, set designer for this production, uses Webber’s material in the same way as Maria Bjornson did for Phantom, creating an incredible platform for the actors to use. Before we’ve even heard a single note, this production succeeds where London essentially failed. Love Never Dies’ mise-en-scene links this story to its predecessor, making its role as a sequel quite evident. See the ‘Carousel Scene’ during ‘The Coney Island Waltz’ as a prime example of Love Never Dies’ mysterious and enchanting roots. Visually, this particular production cannot be faulted. Every space is used, filled with gorgeous imagery that thrusts us into this dazzling, dangerous and dark world. I always felt the London stage felt a little bare at times, so for me, this is a major improvement.

Ben Lewis as The Phantom

Ben Lewis as the Phantom and Anna O’Byrne as Christine have been harshly scrutinised by many who saw the London production. After all, Ramin Karimloo and Sierra Boggess from the original are so greatly known. I, however, think it is unfair to compare the cast. Karimloo is fantastic, yes, and I certainly think he has the better voice, but I think I prefer Lewis’ portrayal of the Phantom. He brings a sense of menace (that the Phantom should possess) back to the role, a feat I missed in Karimloo’s performance. Lewis manages to strike a balance between the crazed genius and the lonely man, emphasising the third dimensional aspect to his character. The same can be said for O’Byrne, a talented actress who oozes star quality whilst bringing forth her maternal nature for scenes between Christine and Gustave. Likewise, Simon Gleeson makes Raoul’s transition from hero to tortured soul all the more believable. The way in which these characters have changed from Phantom are unexpected, yet in context, make complete sense. A lot of the criticism of Love derives from where Webber takes his characters, yet I do not understand why this particular plot point has been targeted. A lot can happen in ten years; people can change and not always for the better.

The book has also attracted criticism from those who wish Love Never Dies had never come to fruition. Personally, I do not understand these negative comments. There may be a few plot holes or moments where believability must be stretched in order to accommodate for certain twists in the story, yet this is no reason as to why Love should be persecuted. In other words, it is still possible to enjoy the show if you take it at face value. After all, Love Never Dies is not the only show where suspension of disbelief is necessary.

'The Beauty Underneath'

Standout scenes, for me, have to include ‘The Beauty Underneath’ and ‘Til I Hear You Sing,’ featuring stunning performances from all the cast members involved. The DVD itself is incredibly filmed. Many times I forgot that I was watching a stage show. Universal Pictures treat this performance like a film, omitting applause from the audience and cutting scene changes so that there is little interruption. As a fan of theatre myself, I am hugely interested in the ‘mechanics’ of a show and how it runs, so this was a disappointment, although I understand why Universal made this decision. Without these scene changes, however, Love Never Dies is a little too ‘pacey.’ At times I longed for a pause, however small, so I could take in what I had just witnessed, yet as soon as the dialogue stops, the music begins and the next song is sung. I found this particularly evident of the ‘Look With Your Heart / Beneath a Moonless Sky / Once Upon Another Time’ scene. Whilst I agree that a show should not ‘hang around’ for too long, there are many moments that should be enjoyed. This particular film does not always grant us the opportunity. It is, however, a minor criticism in what is otherwise a terrific example of how theatre can be transferred to the screen. 

Now that a DVD has been released of Love Never Dies, it can find a wider audience. Whether it will appeal to a mass market remains to be seen, but its integration from ‘cult status’ (for lack of a better term) into the mainstream is increasingly evident. Having streamed in cinemas across America and released on DVD across the world, Love Never Dies is finally finding its feet. Essentially, Love Should Die has failed. There may never be another production of Love Never Dies on stage again, yet now there is a permanent record of a fantastic show widely available. Many can say to themselves that the story ended after the Phantom disappeared. Yet we now all know that the story continues, regardless of personal opinion. After seeing the Melbourne production of Love Never Dies, I am glad that these events do continue, if only to join these fascinating characters one last time. Love Never Dies is by no means perfect, yet it is certainly one of the better shows to hit our theatres in recent years.

You can purchase Love Never Dies on Blu-Ray here, and DVD here.