Yi yi

I don't think the term "soap opera" existed before the widespread growth of TV when it started to be used to define a genre of entertainment that dramatised the everyday lives of a cross section of interrelated characters that could theoretically go on for ever. The formula for the success of the longest running, the British "Coronation Street" and "Eastenders" for instance, is self-identification, the depiction in a heightened dramatic form of the sort of problems we all live with, bringing a degree of comfort and assurance to the audience watching a fictionalisation of its collective angst. When we liken a finite form such as a film to "soap" we tend to use the term in a derogatory sense isofar as we see it as dramatising trivia. However we must be careful about this as there have been examples of very high cinematic art that conform to the conventions of soap opera, "The Best Years of our Lives" for instance in the '40s, the German "Heimat" a few years back and more recently Edward Yang's "A One and a two". It is that very element of everyday anxiety viewed with such perception and truth that makes the Taiwanese film so compelling. Yang has moved away from the youth violence of "A Brighter Summer Day". His middle class family is involved with commerce and careers. However noone has an easy time of it. Each member of the family is plagued in their different ways by their inadequacy in coping with the infirmity of their eldest member. At the same time the father is troubled by his work and the complication of the reappearance in his life of a woman he met many years ago, his wife is seeking spiritual advice from a Buddhist guru, his teenage daughter becomes the butt of romantic jealousy from the girl next door. But it is the 8 year old son who seems most able to come to terms with the vicissitudes of life. He survives the spiteful taunts of his little girl peers and a bullying schoolmaster. His defence is an enquiring mind which he applies to his surroundings with a Kaspar Hauser fortitude and innocence. We already know that if any of these characters will be a survivor it is this youngest. Yang shoots the film with an almost Ozu-like purity, preferring long held shots rather than camera movements, although unlike Ozu he does not make a fetish of this. Often we see action through windows but not at a distance as in "Rear Window" so everything has an immediacy. It will need a few more viewings to assess whether "A One and a Two" is on the same level as Yang's earlier "A Brighter Summer Day". At the moment something tells me that is does not quite measure up to that savage masterpiece. Its very gentleness could be the reason, although I recognise this is hardly a valid argument. After three viewings it remains for me a rather elusive work, compelling in its way but curiously difficult to evaluate.

Yang Yang the boy character in the film takes pictures to help those around him see what they cannot, and Yang the director takes pictures to help us see what we usually do not - that every moment of life is beautiful, deep, wonderful, rich.

Yang masterfully uses the everyday things of life on a least two levels - the literal and the figurative - beginning with the title of the film, which means literally "one one" (in Chinese) or "individual", but is presented as a Chinese "one" on the screen, followed slowly by another Chinese "one" appearing on the screen below it, which then becomes "two". (In Chinese, one is a single line, and two is two singles lines, one above the other.)

We are individuals, together. Our lives involve us, and others. Our lives involve relationships, get their meanings from relationships.

Relationships like that of little boy Yang Yang's encounters with girls, violent at first as they poke him from behind (in the back of his head, where he cannot see), and he pops balloons in their faces, scaring them. And then as the electricity builds between them, between Yang Yang and the girl in his school, just as in the nature film in the science lesson presented in the audio-visual classroom, passion as an electrical spark comes to his life.

There is Yang Yang's sister Ting Ting in the school of life too, with her ever-present potted plant that cannot seem to bloom. In class, she is told that overfeeding can cause it not to bloom - and Ting Ting herself tries too hard to bloom, longing for "music in her life" as she listens to the concert duet played by a man and a woman while she glances at her date, the boy called "Fatty" - he is slim but does he dine too much at life's banquet? (That question is answered later, as violent storms - storms of love, of life - pass overhead, not expected again "until Thursday".) Ting Ting wears white, and could be at her wedding, but she is not.

Their dad, NJ, does manage to find the music of his life once again when he encounters Sherry, the flame of his youth. They take a train back into time they remember as simple and romantic, but the memories of the past veil the complexities that existed then, and now, for the two of them.

NJ's wife Ming Ming wishes to escape. Her work colleague Nancy asks her, "You're still here?" to which she replies "Where can I go?"

Indeed, where can we go? No, we must stay and wake up each day, and try to remember that each day is a first time, that we never live the same day twice, as enchanting Mr. Ota, NJ's potential business partner, reminds him, and us.

Films like American Beauty give rise to a huge amount of hype, they are hailed as being intelligent and having things to say. The reason that they stand out so much is that in the multiplexes in which they are shown, the cause of their difference to the family comedies and juvenile violence, is by actually having something called 'Character Development'.

This would appear to be a foreign issue to the majority of film makes. But luckily for some cinema goers, it is not a foreign area for people like Edward Yang. 'Yi Yi' is an exquisite observation of a family in which all the ages are represented at varying stages of life. From the father struggling to retain his sense of thinking that work is still important, his wife struggling with the illness of her mother. And his children learning in their own ways about what life has to offer, both of which like everyone else in the film are superbly acted.

Life rolls through every one of these characters and the annoying stereotypes that to a certain extent ruined American Beauty, for me anyway, are not here. Every character is superbly drawn and fantastically beautiful. For some people no doubt this film would be hell. Three hours of dialogue and a story which purports to show nothing more than life being lived. It is a great example of the art of writing however, that the characters remain with us long after the film has finished.

Although the entire cast was terrific one performance, for me, rose above the norm. It was Issey Ogata in the role of the cutting edge games designer Ota. His speech of our fear of newness when surely every day is unique really did take my breath away. It is a superbly shot film but the editing is excellent. So many times there were cross-fertilisation of ideas and story strands. When we could see the same relationship being played out in three very different stages amongst the members of the same family.

People may complain that maybe not a lot happens, that people don't really go anywhere and nothing is resolved. To me, however, this is a slice of life. Of all of our lives as we try to make sense not only of those around us but of ourselves. The closest recent film that i have seen to this is 'Magnolia' and while i would certainly recommend that whole-heartedly, there have been very few films that i have felt so accurately portrayed people as being people as 'Yi Yi'.

This is a film that reminds me of how good films can be. It also reminds me of how lucky I am to be able to enjoy and appreciate being moved by three hours of skill and effort. Simply breathtaking.

This insightful, beautifully written and directed film contemplates on many things concerning the modern individual. The focus is a family in Taipei, the feelings, struggles, conflicts of family members at different life stages. The architecture is used as a part of the story, the surroundings the characters are in, always seem to tell us something about that particular situation. The effects of modernity and capitalism on the individual and traditional values are aptly analyzed and basic human emotions like love, loneliness, commitment and frustration are contemplated with a hard to match observation and tenderness. The little boy seems to verbalize the director's approach to film making: "We only understand half of everything because we can only see what's in front of us." and Yang's camera aptly shows us "the other side" of every situation. As a character says "with films, we experience many more lives than we actually can in one lifetime" and this film is a whole life experience in 3 hours.

This is without a doubt the best film of 2000, a masterpiece of sublety and understatement. It is long--just under three hours--but during that three hours, the entire range of human experience is covered. It is about life--that's it. But, to make a statement about life, you have to illustrate it with lives, and this Yang does exquisitely. There is a tragic undercurrent running through this film, and while I was watching it I thought of Thoreau's observation that "most men lead lives of quiet desperation." Yet, in spite of the travails the film's characters undergo, it is ultimately a work of affirmation. This is about as good as the art of cinema can get.