One Second

"Zhang" (Yi Zhang) manages to escape from a forced labour camp just as the Chinese cultural revolution is in full swing. His plan is to make it back to his remote home where he hopes to see a screening of a short propaganda newsreel extolling the merits of socialism that features his young daughter. The thing about these multi-reel movies, though, is that they are constantly being circulated, damaged, stolen and even covered in sand, so actually finding one in a working condition near somewhere capable of exhibiting it is no mean feat for this increasingly malnourished and frustrated gent. Then he encounters the wandering "Liu" (Haocun Liu) who also requires the film - but for an entirely different, and probably more practical purpose, so whilst trying to obtain it from her and stay one step ahead of the pursuing authorities, his work is cut out for him. As his quest proceeds, we are introduced by way of flashbacks, to just who he is, who she is, and why we are all chasing this moment encapsulated in nitrate and both actors deliver well. This reminded me, in many ways, of "Cinema Paradiso" (1988) insofar as it also really emphasises just how important cinema was to a small town community. At how revered, almost, the projectionist - in this case "Mr. Movie" (Wei Fan) - was, and despite the fact that the screen was little better than a king-sized bed sheet, at just how the population gathered to see whatever the authorities deemed fit for their consumption with eagerness and zeal. It's thinly veiled critique on all things "party" is disguised in some really quite dark humour with some down right disrespectful dialogue that ridicules the very principles of any one doctrine state: ostensibly benign or just plain authoritarian, things very rarely changed for the people scraping a living the same way they'd done for centuries. The scenes with Wei Fan, especially towards the end, do raise a smile and then there's the slight futility to it that works well, too. At times the photography gives us quite a powerful degree of intimacy and at other times it stands back and allows us to enjoy, or query, this man's purpose as you begin to wonder will he ever see the film and just what did he ever do to merit such persistent attempts to recapture him! It can be a little sluggish at times, but the last half hour makes it worth a watch.

Whist in search of a lost film roll of utmost importance, One Second takes us on a delightful trip through the desert. The plot reminds strongly of Cinema Paradiso and doesn't add anything innovative to the mix. But it holds enough clever twists and turns to engage the audience.

The movie suffers from some minor flaws but can hide them behind the beautiful cinematography. Meanwhile, its feel-good quality prevents it from living up to the subtlety and nuance of Yimuo's earlier work. And rather than a celebration of film, it almost feels as if they are actually celebrating propaganda. Furthermore, the main character keeps making funny decisions - often of staying silent - which puts him in increasingly dire trouble.

Yet, the performances are firm, the imagery is occasionally exceptional, and Yimou's direction is refined. It's better than most movies these days, but the story itself fails to reach higher ground.

"He finds an unlikely competitor in a young girl Liu Guinv (Liu Haocun), who wants some film to decorate a lampshade for reparation. After a series of mischiefs fighting for a reel of film, which finally reaches the regulated farm where the movie is due to be screened by the veteran film projector Fan Dianying (Fan Wei), Jiusheng's concealed identity is at risk of being discovered and his foe-to-friend bond with Guinv, who is more or less his daughter's age, takes a familiar but no less affecting father-daughter trajectory. And ONE SECOND hits the bull's eye with its ending, a tactical misunderstanding brings Jiusheng back to Guinv, and his ensuing disappointment soon changes into a philosophical sigh, he is accorded a second chance to be a father figure, whereas, the film footage, buried and gone, acts like a germane symbol of a bygone era."

read my full review on my blog: cinema omnivore, thanks

In the last couple of month, or maybe the last year I have seen maybe 10 movies about famous directors love for the cinema...of course one of China's best will do the same. Love for the cinema with a bit of family dynamic sprinkled in.

It is not as visually spectacular as other films from Zhang Yimou but it's still beautifully shot and the cinema scenes really have impact. To involve the entire village to clean up an entire reel that was dragged on the road, it was just not only very powerful chinese propaganda but also a very direct way for Yimou to show us how much he respects the film..and to present it all on the "silver" screen via back-light. Such a great couple of scenes.

Yeah, a lot of it also reminded me of communist Romania and they way they all gathered at the films to mindlessly watch anything, even newsreels, all too familiar. Not for me, but from the stories I heard.

Anyone unfamiliar with the larger career arc of Yimou Zhang can be excused for underestimating this heartfelt film. If it is not a masterpiece, then it is at least a worthy example from a master. It is, of course, a takeoff on Cinéma Paradiso (1988). I infer that this film is vastly truer to Cultural Revolution China than that one was to early post-WWII Italy. I think it rings true. I hope that someone who was there "in the day" will comment.