Un temps pour vivre, un temps pour mourir

Very good movie in every aspect: acting, performance, cutting, quality of images, and plot. This is based on the true memories of the life of the director growing up in Taiwan. We follow this evolution in this movie in such realistic and natural images and scenes that we forget we are watching a movie and it looks like if we were watching real life scenes through someone's window. The main plot tells the story of a young boy who is dealing with family and other issues as he grows up during a certain period in Taiwan's history. A fascinating movie. Good foreign arthouse movies are so underrated on imdb and I don't even know why. I guess this site is for popular movies only and top 250 is ridiculous.

It's kinda weird and almost become universal, many of the screenplay writers and directors in Asian Pacific area, such as Taiwan, China, Japan, Korea, Thailand, Vietnam...seemed to never be able to grow out of their teenage syndrome and phobia of their young and immature romances and loves. The formulaic trend, if I tried to trace it back, most likely was from Japan, originally from their Manga, their anti-social young writers who never had the working experiences or social lives, stayed in their bedrooms, read animated Manga stories, then wrote about their own limited experience from their elementary school to their high school, retrospected their puppy loves to their classmates, boys or girls in their uniforms, timid, shy and reserved, didn't know how to express their love to their opposite gender.

Ho is just one of them, so typically unable to grow out of such remembrance of his teenage love loss and his inability to deal with those impotent situations again and again. It changed and narrowed his thinking, lifestyle and sexuality. His movies most were nostalgic to his teenage time, about the young and fruitless romances, the melancholy regrets, the failures of his romantic adventures in a tightly conservative society he grew up with. His and many other similar Taiwanese writers and directors are exactly like those Japanese and Korean counterparts, many of their products are about romances in uniforms and satchels, after-school encounters, or shyness during classes to each other. These kind of romances never lost their charm to their audiences in puberty, never failed in box office. But it narrowed and hurt their advances in literature and movie production since they couldn't and even refused to grow out it.

It's time for you guys to grow up, not just to grow out of it!

"A Time to Live and a Time to Die" reads like a family saga, but it is just as much a film about the passing of traditional China and the dislocation of exile. Of course the plot points are given away; Hou isn't interested in dramatic tension and Aristotelian unities--these are so dependent on Western ideas of

personality and the separation of individual and world that they make little

sense in China. He doesn't push the events in our faces, either--they just

happen, often in the middle distance with a tree in the foreground, the way real life happens. (Remember Auden's "Musee de Beaux Arts", with Icarus plunging

in the sea far off while a ploughman works on his field?)

The space Hou gives his events and his characters doesn't give us the intimacy with people that we expect in the West. But it gives us a rich sense of the

texture of life and the things that pass among members of a family and a

community, even one that is thrown together and can just as suddenly fall

apart, as it begins to here. It's that feeling for social space, in part, that allows this film and others of his to address social and historical questions without ever losing the sharp particularity of a personal story.

Although I think The Puppetmaster is the real best masterpiece of Hao, Time to live and the time to die is the one I love most. Despite the implication and background of Taiwan history in the film, as I am not so clear about it and not close to me, the story about growing-up is the reason that the film move me so much. The trip of the main kid "ar Ha" and his grandma become the warmest and most unforgettable part of the film. By the way, I think the relatively slow and quiet style of Hao extremely suit the story of rural and history background, much better than modern city background.

This film, which first brought Hou and the Taiwanese New Wave to international attention, seems deceptively simple, like your run-of-the mill growing-up-humbly-in-a-third-world-country narrative: a young boy, whose family has been transplanted from China to Taiwan, faces a hard path to adulthood complete with neighborhood tussles and family deaths. But gradually its manner of telling draws you in: at first, events seem like fragmented vignettes, but are actually blended in a succession that has been described as `like watching clouds floating by.' His propensity towards graphically composed, image-driven storytelling recalls the styles of Ozu, Satyajit Ray and even Tarkovsky, but where Hou excels is in applying his style towards an examination on the nature of history. For my money, there has never been a filmmaker as consumed by the idea of history than Hou, and this deeply autobiographical film may shed light on his motivations. By the time we reach the devastating ending, there's an overwhelming feeling of a time and place, an entire way of life, that has slowly disappeared before our eyes, but even more heartbreaking is the profound sense of guilt, of youthful opportunity squandered in hoodlum-like loitering, of parents whose presence was taken for granted until the sudden arrival of their ineffable absence. Watch this film to see how movies are humankind's noble, anxious attempt to retrieve lost time, and how the retrieval only reflects back on the mournful permanence of that loss.