El mundo

While this film is radically different from Jia's earlier films it still packs the same cultural criticism wallop. A commentary on the urbanization of modern day China, Jia has moved into the slick world of government approved film-making without losing touch with the direction of his earlier films. It is tempting to watch the film superficially and dismiss it as a glossy state approved image. However, from my perspective, what is happening in the film is much more subtle; it is form of art-making that is particular to China and its authoritarian governing systems through history.

Practically speaking China has never enjoyed freedom of expression for its artists and writers. In order to get around censorship that came from absolute monarchies or dictatorships artists and writers would use subtle inter-textual messages. For instance, a line or radical would be left out a character to slightly change the meaning within the text. The head radical might be left out of a character describing the emperor to indicate the writers desire that the emperor be beheaded, or something along those lines. They were small enough messages that sympathizers would pick up on them, but a censor (censors usually not being the brightest or most creative people around) would miss it.

It is my opinion that Jia Zhangke is doing something along these lines with this film. It may not be as subtle as the messages have historically been, but a close reading clearly conveys something the government wouldn't be happy with. The Chinese government would like for the world to see them as metropolitan, glitzy, shiny, and new, so Jia, in this first film of his with government backing, uses cinema-scope, modern techno beats, computer animation and up-to-date electronics. But under the glitz is the reality screaming to get through the World Park facade. It is dirty and personal. There is prostitution, crime, and pirate copiers (maybe the theme here is modern Chinese society, as promoted by the government and big business, that is the pirated copy of the rest of the world). The subsistence living youth can all have cell phones, but for all their text messaging they don't seem to be able to communicate. Basically Jia seems to say that the Chinese youth are headed for a future of oblivion under the current direction of their country. It is hard to disagree with him. But at least he he leaves a morsel of hope in the end of it all.

How can you truly show disconnection. I think I have truly seen a master in action with Shijie, a film that takes place in a world theme park (this place does really exist) in China.

Zhang Ke Jia is a masterful director. His use of colour and character direction is unreal. One of the things he uses to great effect are arches and hallways. Characters appear in them, or look out of them in what is some of the most visual photography I have ever witnessed. There is also a great conversation scene between two characters who don't share the same language, and the use of reflected light that is truly remarkable, make sure to watch for this scene. But it doesn't end there.

Zhang also does something so miraculous that I thought would be impossible. He borrows heavily from Ozu, particularly a scene that is reminiscent of Tokyo Story and makes something that is uniquely his own.

The basic synopsis of "The World", is of the lives of the workers in the theme park. Some romances develop, a foreign Russian worker Anna is introduced to the group even though she and another Chinese girl Tao don't share the same language. Everyday trials and tribulations happen for these young adults who are trying to work in the 'New China'.

Somehow though with all the issues involved, rural people coming into the cities, technological communication, the erosion of China's agrarian past, the fakeness of place, the exploitation of workers and lead up to prostitution, the camaraderie of friends, the cheapness of life.. somehow all of these themes are jumbled into a glorious presentation that you can't take your eyes off of.

The film is beyond surreal, its real setting makes it all more spectacular and that more effective. I had a hard time separating the actors from the characters, at times I thought I was watching a documentary and I prayed or hoped for someone to do well and be happy and find themselves thinking that these were real people in harsh sometimes difficult situations. "The World" has this effect on you, you can't begin to believe the beauty and harshness it shows, and it tricks you in the most crafty way.

The World is a truly fantastic small place in more ways than one...

Rating 9 out of 10

Though this movie is to some extent, demanding on the audience, a little patience and decent memory will leave you spellbound after the movie. I do warn that if you don't have the patience for books such as The Idiot, don't watch it. Otherwise, I'm sure it will be enjoyable. Jiangke takes the candor of Yasujiro Ozu's dramas and removes kindness, whimsicality, and love and replaces these with loneliness, harshness, and austerity. Powerful combination. The lead actress acts in a way that seems to forget that it's being filmed for a movie. The level of focus on her part is astounding to me. This is in fact true for the entire cast. The irony of the movie lies in its title: The World - a word that conveys a sense of endless possibility. What you get is quite the opposite - in fact the characters seem to be confined by such a level of endless impossibility that the throughout the film, I found myself fearing an imminent gunfight. That never came but the end is equally, if not, more shocking.

If you want to get an aesthetic view on modern China, this is an excellent vehicle. Over two hours long, some scenes are poetic and subtle with an Eastern beauty lovely to behold. English sub-titles are well done.

A big screen experience of common workers from the countryside and the artistic dance community in the big city of Beijing.

There is a lot of smoking... and cell phone use, of course - this is the new China.

Some animation sequences provide creative transitions of scenes.

Not for the adrenaline junkie addicted to violence.

Excellent portrayal of relationships. A true artist behind the camera. The acting is so natural.

The backdrop and chapters are structured around the different national landmarks at the World Theme Park in Beijing.

( 8/10 )

While fifth generation Chinese directors Zhang Yimou succumbed to crowd pleasing, turning out cheap, hollow, showy crap like Flying Dagger, sixth generation Jia Zhangke continues to remain faithful to making movies that reflect the sometimes painful metamorphosis the Chinese populace is going through at the crossroad of modernization. The World is such a recent attempt, although there are comments that this movie has already treaded across the line of commercialism.

"The World" here is a miniature world theme park which might be a novelty to Beijing but not the modernized parts of the world (there was one en route from Toronto to Niagara Falls over three decades ago, albeit at a smaller scale). The story evolves around dancer Xiao Tao (ZHAO Tao) and her boyfriend Tiasheng (CHEN Tiasheng). (While the actor conveniently adopted his real name for the character, Tao in the movie means "peach" while Tao in the actress means "waves", two entirely different words). Through the daily lives in the park (part of which is still under construction) and visits from various friends and relatives of the two main characters, we are exposed to how people interact, think, perceive, love, and more. Many of the sequences and dialogue are so realistic and real that you would wonder if these are simply people in the street asked by director Jia to stand in front of the camera (but some distance away) and converse the way they normally do.

The storytelling is straightforward and efficient, sometimes to the point of being skeletal. The camera is objective, impassionate and some may even call it dull. As if to make up for it, director Jia interspersed the script with animations, sometimes to mark off short episodes, each separately titled.

Not for the general audience, The World has an air of the rough-diamond kind of crudeness that makes it quite appealing to seekers of less main-stream cinemas. I do find it a little too long, even when I watched a two-hour version rather than the 140 minute version billed in the IMDb listing.