The Crossing

It is said to be the Chinese version of Titanic. Well, grossly overstated. Even though I have only watched the first part of this saga and the characters have yet boarded the fatal vessel Tai Ping, I do not think I would miss much not seeing the second part.

The crossing is quite disappointing from inside out on all aspects. The historic background is forever fascinating: at the end of the Sino-Japan War in the early 1940s, the Chinese Nationalists (Kuomintang) was fighting the Japanese fiercely by collaborating with the communists and the Russians. Then after the Japanese were gone, the Nationalists had to fight the Communists in a civil war amid their own corrupted administration. In the end they had to retreat to Taiwan which had already been governed by Japan for 50 years.

It is under this backdrop the movie attempts to depict three tragic romances in a turbulent era: a marriage between a Kuomintang general Lei Yifang (Huang Xiaoming) and wealthy young woman Zhou Yufen (Korean actress Song Hye-kyo) who plays the piano very well; a Taiwanese army doctor Yan Zekun (Takeshi Kaneshiro) for the Japanese army and his Japanese girlfriend Masako (Japanese actress Nagami Nagasawa) in Taiwan; and a pseudo relationship for convenience between a Kuomintang soldier Tong Daqing (Tong Dawei) and a country woman Yu Zhen (Zhang Ziyi) looking for her lost lover in the army. Looking at the background and the complexity of each relationship, perhaps each could have been developed into an independent story, thus exploring the themes of social class, national identity, political ideology versus practical survival, cultural differences, loyalty in the army versus morality etc. Instead, producers have squeezed these romances together and packed with tons of visually impressive battle and explosion scenes, later to be converted into 3-D. It just does not work very well.

The worst part is how the plot is crafted: there is very little character development/interaction or relationship depiction that path the way to convince the audience that the relationships help the characters to get through their tough lives which seems to be one main theme of the movie. Most of their longing for each other are based on narration either through letters or reading from a diary where audience cannot see how and why they miss/love each other so much. Then the editing is so abrupt that it feels very choppy: the audience are always led to other scenes and emotions when one scene is not even fully developed.

As for the acting, the poor plot and script development inhibits the actors from portraying complex emotions. Thus it is very hard for the audience to feel moved. Among the cast, Zhang Ziyi has done the best among others but we still have limited feelings for her. On that point, if including a Korean and Japanese cast is for marketing consideration, I begin to feel the political considerations for portraying the Nationalists in a negative light to cater for the Chinese market would really hinder the movie's artistic development.

Whenever there are three subplots in a movie, there should be some relationships between them – a good example is Disconnect - but in The Crossing the connection is quite weak, not to mention the three romances are quite superficial in themselves and could have been heavily reworked.

Even the make up/camera angle is poor which fail to bring out the radiant youth of the characters. Too many close ups exposing the aged faces when the actors are supposed to be teenagers. These could have been easily fixed by after production but obviously not taken care of.

All in all, I feel quite a waste of huge budget on the explosion scenes and historic background. In terms of depicting ordinary lives during wartime, Little House is much much better. I think The Crossing aims too high, overextends itself too much to hit a too wide spectrum of audience. Thus it has compromised its literal, historical and artistic value.

Lastly, even the preview of part II is done tactlessly which cannot entice the audience to crave for more. One probably does not miss much not watching this, let alone part II. Too bad.

The previous episode, as a foreshadowing story, focuses on depicting several groups of characters whose fate is entangled in the context of the great era. The story still makes sense, but the texture of the epic has not been made.

Almost twenty years after James Cameron's Titanic broke cineplexes with its combination of blockbuster spectacle and heartrending emotion, John Woo is hoping to do the same with The Crossing. Based on the real- life sinking of a Taiwan-bound steamer that claimed 1,500 lives (approximately the same number lost aboard the RMS Titanic), Woo's latest epic boasts three times the romance and, one would think, three times the heartbreak and drama. In theory, anyway. In actuality, splitting the movie into two means that there's no sign of the titular journey in this first installment of The Crossing - for that, you'll have to wait for the sequel, due in cinemas in May 2015. What you do get is plenty of occasionally soggy backstory for the film's three star-crossed couples, as they meet and fall in love against a backdrop of world and civil war.

In the midst of World War II, General Lei Yifang (Huang Xiaoming) bravely commands his troops against the Japanese, while signaller Tong Daqing (Tong Dawei) captures Yan Zekun (Takeshi Kaneshiro), a Taiwanese doctor conscripted into the Japanese army. When the war ends, each man finds love: Yifang marries heiress Zhou Yunfen (Song Hye-Kyo); Daqing forms an unexpected connection with nurse Yuzhen (Zhang Ziyi), a complete stranger who plays his wife in a family photo so he can get more rations; and Zekun pines after Noriko (Masami Nagasawa), his sweetheart who has since been repatriated to Japan. But their lives change again when the civil war erupts: suddenly, the men are called back into battle, to fight against people they fought with and for just a few years ago.

There's no denying it - at its worst, Woo's film plays like two hours of filler. It meanders in episodic bursts through the lives of these six characters, never quite making a convincing argument for its existence. We know it's meant to create emotional stakes for the sequel, but a great deal of the drama that unfolds in this film could be condensed by a canny screenwriter into a few minutes of narrative context.

It doesn't help that Woo doesn't fully deliver on either the military or the romantic aspects of the film. The opening battle feels like it was shot a few decades ago: the blood splatters are gory and unrealistic, while the action beats disappear amidst the carnage - the last thing you'd expect from a Woo movie. It recalls Michael Bay at his most boom-tastic, which isn't really a compliment. The relationships play out in stilted, somewhat soggy fashion, told as much through voice-over as actual interaction: a barefoot Yunfen somehow waltzes away with Yifang's heart, Zekun must hastily disguise his sketches of Noriko's eyes during an art class, and Daqing pays his fake wife in noodles that aren't salty enough for his taste.

And yet, this installment of The Crossing is not entirely without merit. Stick with it long enough, and some of its scattered episodes and ideas will prove more affecting than you'd expect. This comes primarily from Woo's surprisingly even-handed treatment of the civil war that breaks out within China: neither side is vilified; indeed, we're shown what happens when brothers-in-arms find themselves returning to war on opposite sides. There are moments of quiet comedy - three starving soldiers find a rabbit in the woods - and others of devastating betrayal, when true allegiances are revealed. For a big-budget release clearly targeting the Chinese market, it's interesting that Woo doesn't downplay that element of Taiwanese resistance, instead folding the people, their language and their strength into the film.

Woo's all-star cast is competent, but not quite strong enough to save The Crossing when it's determined to, well, sink. Zhang is blessed with the meatiest role. It may be predictable - poor, illiterate nurse struggles to earn enough money to buy a ticket to Taiwan to find her true love - but she imbues it with plenty of grit and desperation. Tong treads a fine line between comedy and tragedy as Daqing, shifting from comic relief to unexpected war hero as circumstances spin out of everyone's control.

The other actors fare less well. Kaneshiro and Nagasawa are little more than an afterthought, turning up briefly and thus far inconsequentially throughout the film, while Huang and Song are saddled with the most dismally boring of love stories. The former, so charming in other movies, has apparently decided to play his role with an arrogant sneer almost permanently stuck to his face, which can make for somewhat disconcerting viewing.

There are, of course, financial reasons galore for Woo to split his epic into two films. But are there any creative ones? It's possible to charitably grant him and his producers the benefit of the doubt - there's nothing wrong, per se, in dedicating an entire film to building up to an event that will only take place in the sequel. But it's hard to believe that box-office considerations didn't play a part when the final product is less hit than miss, a bundle of moments strung together with little subtlety and not enough care. The first installment in a franchise should leave you hungering for more - The Crossing, at best, creates a sense of mild but hardly overpowering curiosity about how everything will shake out.

Not my kind of movie, but this one didn't bored me as hell as Titanic did. I've read people complaining about complexity of the trama, I only can say that way is the american public: they want all fast and easy, they don't want to think too much. But if you like a bit more complex tramas, give The Crossing a try.

I can only say that the director thinks too much. Multi-line narrative, but the whole story was cut apart. There are too many roles involved, too many complicated plots, too many side details to be cut off, and the result is that the slow pace makes people fall asleep. The camera language tends to be exquisite, trying to show rich feelings, and actually more procrastinating.