Empire of War - Der letzte Widerstand

With big budgeted films like Assembly and Aftershock under his belt, Feng Xiaogang is no stranger to ambitious films set against the Chinese historical backdrop, which he handles most excellently through powerful, emotional dramas, balancing it out with what would be money shots of the large event that forms the canvas of his movies. With Aftershock he dealt with the Tangshan earthquake of 1976, Assembly had his war between the Communist and Nationalist soldiers, and now he goes a little further back in time to 1942, where China's Henan province suffers through its deadliest drought resulting in the death of 3 million through starvation.

I guess it's quite challenging for many here to have experienced true hunger in today's relatively affluent society, but those who have been through some days without having to eat something, usually through vanity reasons of keeping artificially slim, will attest to an uncomfortable feeling. Multiply that by months on end, with a war looming and then experienced, and one can almost picture how miserable life then would have been, with food being literally scraped from what would be unthinkable as food, such as tree barks, and many willing to offer anything, most often children, as barter trade for foodstuff.

Based on the novel by Liu Zhenyun titled Remembering 1942, it charts the huge drought and famine through one of China's provinces, told through the eyes of various protagonists in this sprawling epic. There's a well to do landlord in Master Fan (Zhang Guoli) who opens the movie, as we bear witness to his slow and inevitable descend from prince to pauper, having a stockpile that got naturally targeted by bandits, and when all hell broke loose, he suffers tragedy after tragedy, joining the millions of others on their trek westwards to find food, and also incidentally escape from invading Japanese forces.

Then there's the religious arc, with Priest Sim (Zhang Hanyu), a Chinese man seeing opportunity in all these distraught to spread the word of Christ amongst his fellow countrymen, with his faith being shaken by constant questions how his God would have allowed this to continue, where at one point he had envisioned this situation to be similar to Moses' leading of the exodus out of Egypt. Tim Robbins and Adrien Brody also took up roles in this film, much like Christian Bale in Zhang Yimou's The Flowers of War, with the former being the priest whom Sim confides in, and the latter playing the role of a Time magazine correspondent who also lends his perspective to the growing atrocities, and ignorance of the many politicians who prefer to enjoy the company of elites, and turning a blind eye to the true situation thousands of miles away.

While the film does not offer pointed accusations, it does present a series of events that may have contributed to the immense human tragedy, and this largely involves politicians, soldiers and the Japanese, where WWII almost becomes an excuse for the existence of millions of refugees uprooting themselves and moving elsewhere not only to escape from enemies, but to look for sustenance. Director Feng engages some of the best in the craft for this ironically lush production (for a film that deals with those with absolute nothingness), to bring out vivid looking shots and conditions in which the actors thrived in delivering heartfelt performances, with no holds barred effort poured into the production to make every shot look believable, plausible, succeeding in its attempt to put you right where the action unfolds.

War and battle scenes also looked notches above what the director had done with Assembly. Blood and gore moments were kept realistic without the need to be gratuitous, from major scuffles amongst bandits and villagers, to constant Japanese air raids which saw bombs raining down indiscriminately against both soldiers and the long lines of civilians trying their best to escape from hunger, now having to deal with another threat which some see as a lifeline to end their miserable lives. But if looking from yet another angle outside from the premise of the film, the narrative also deals with the adage of fortunes being cyclic in nature, telling such a story where a rich man's most prized possession will be that final slap in the face when Maslow's basic theory of needs come into play, like a warning to the newly affluent that when it boils down to survival, it's every man for himself, with the elite class likely to suffer the most when the people trodden upon calls it quits.

Chinese films have come a long way over the last decade, and Feng Xiaogang has shown that he's amongst one of the best out there to deliver big budgeted productions that doesn't have to void of a soul or emotional core. It's an epic on the grandest scale, succeeding because it tells stories of the human condition that everyone can identify with. Highly recommended, as I ponder what other historical backdrop the director would be tackling next, since he has a keen eye and a knack for it!

There are many stories that can be told all over the world that probably are not on your radar. This is one of them. Even if you know the facts (the numbers in that case), seeing that playing in front of your eyes is something completely different. It's devastating watching events unfolding especially when it's clear that some things might have been avoidable.

With some American star power (Brody and Robbins in this case in smaller roles), the movie depicts war and the cruelties to the common folk. So you won't be able to see much fighting (though there are still quite a lot of war scenes), but the effects it has on civilians. A difficult movie, not only because of the running time, but a very well made one. Even if you're not that much interested in History, this is able to grab you and hold your breath/attention until the end

A tamer version of my review in desensitized words:

Good film, could've been a great film.

A rather controlled and somber depiction of a dark chapter in modern history, subtly echoing another tragedy that happened 16 years later. Surprisingly un-judgmental and un-sentimental for a historical film recreating despair and lowest possible form of human existence.

Feng presents the multiple layers of clues and facts that lead to the ultimate tolls almost as-matter-of-factly, leaving the audience putting together the puzzles and drawing their own conclusions, which is a rather clever way of avoiding censorship and engaging the audience.

Could have been A LOT grittier and more affecting. The acting is powerful in this film. However for a film depicting a major famine that claimed over 3 million lives in recent history, not much huger is shown as visuals in the film, most of the lingering hunger is talked about/acted out (as opposed to being displayed visually) which reduces the general affecting power of the film.

Xu Fan and Zhang Guo-Li are amazing in this film with their acting. Xu gives her most powerhouse performance yet, portraying the tough bottom- feeder hillbilly b*tch who would attempt anything/everything in defending her and her family's rights to live. However for a country woman who's been starving for over 100 days and more than willing to sell her bottom half for a couple of crackers, what's with her double- chin? (think Jennifer Lawrence's face in The Hunger Game – she can act all she wants but I'm sorry, girlfriend is just NOT that hungry) What TF happens to her makeup artist team and special visual effects people?!

Adrien Brody is effectively engaging as a very eager T.H. White who's desperately trying to expose the truth, whether driven by his journalist instincts, Pulitzer, or a genuine sympathy for the poor and depraved. However don't even get me to start with Tim Robbins - why is he even in the film??? The couple of scenes he's in are cringe-inducing. Even if you edit them out altogether it would not affect the story's flow whatsoever.

A well made and serious film you shouldn't miss.

Back to 1942!How many movie-goers were born before 1942? I think very few...

The film is all blood and tear in Chinese history-if you ever read any Chinese history you would know a bit of how the corrupted national party of China ran the country(how they handled the famine) and the history of Japan invaded China (how cold blood of their behaviour against civilians)at the time.

To younger people who never experienced war and hunger...please don't expect entertaining plots.

In 1942, China and Japan are in war. In Henan, the drought brings famine to the locals, but the wealthy landlord Master Fan Dianyuan (Guoli Zhang) has enough grains and food to supply to the villagers. Out of the blue, the village is looted by a gang of bandits that kills Fan's son and burns down the village to the ground. Master Fan is forced to flee with his wife, daughter and daughter-in-law and his servant Shuan Zhu (Mo Zhang) and they join the refugees. Along their journey, they are rob by the Chinese soldiers and bombed by the Japanese airplanes. Soon the starvation reaches Master Fan and his family with tragic consequences. Meanwhile he stumbles on the road upon the snoopy Time correspondent Theodore Harold White (Adrien Brody) that heads to Henan to investigate the famine and finds evidences of cannibalism among the survivors of the starvation.

The underrated "Yi jiu si er", a.k.a."Back to 1942", is a magnificent and heartbreaking Chinese epic, with the sad drama of the Second Sino-Japanese War. The plot follows the journey of the landlord Master Fan from his wealthy village to the need to selling his daughter to prostitution for food. The only problem is that it seems that in Mandarin the character speaks less to say the same thing in English. Therefore, it is hard to follow the English subtitles in the Blu-Ray and the end of some sentences is lost. But anyway, it is difficult to understand how an intelligent viewer can rate this film with less than eight. My vote is nine.

Title (Brazil): Not Available