Qian li zou dan qi

It has been a long time since Zhang last pull an intimate angle on his film. It feels good to watch a simple story that filled our emotions right to the brim.

If i'm not wrong. this is the first time Zhang focus on MAN's emotion. His protagonist have always been females. (The 2 most famous actress from china - gongli and zhang ziyi is a result of his great foresight.) Zhang Yimou possess a good eye for casting. Both old man and little boy exudes certain stunning charisma that i find them look alike to each other. Both possess a ruggard face that reads hardship and strength. Ironically these man and boy of rock are hit by the softness of kinship. whatever it is, they stand tall in the face of sad history. watching the heart map of a solid MAN like takakura is one of the most touching thing for me. i was moved by the story.

it was so rare to watch the male characters to be dissect by Zhang. When that happens, they are much pale (quiet & reserved) in comparison to the other female characters in zhang's previous film. for me, that is novelty. kudos to zhang for reinventing himself!

Zhang Yimou's last two martial arts films had much to commend them, but, honestly, I'd trade ten such films for this. It was almost too much to hope for that the director would return to his earlier, humanist style of film-making that saw "The Road Home," "Not One Less" and "Happy Times" - but he has, and wonderfully so.

Ken Takakura, who has appeared in fine films such as "Poppoya" and "The Yellow Handkerchief," really shines here. It's his film all the way, and a wonderful tribute that Zhang chose to craft this film for him.

While the core of the film lies with the emotions of the characters, I should also point out that the cinematography here is splendid - there are shots that are as breathtaking as anything in "Hero" and "House of Flying Daggers."

In a village of fishermen in Japan, Takata (Ken Takakura) misses his son Kenichi, to whom he has been estranged for many years. When his daughter-in-law Rie (Shinobu Terajima) tells him that Kenichi is sick in the hospital, she suggests Takata to come to Tokyo to visit his son in the hospital where he would have the chance to retie the relationship. However, Kenichi refuses to receive his father in his room, and Rie gives a videotape to Takata to know about the work of his son. Once at home, Takata sees a documentary in the remote village Lijiang, in the province of Younnan, about the passion of Kenichi, the Chinese opera, where the lead singer Li Jiamin (Jiamin Li) promises to sing an important folk opera on the next year. When Rie calls Takata to tell that her husband has a terminal liver cancer, Takata decides to travel to Lijiang to shoot Li Jiamin singing the opera to give to Kenichi.

"Qian Li Zou Dan Qi" is a magnificent movie about fathers and sons in a wonderful journey to understanding and redemption that will certainly bring tears and smiles to the viewer. The screenplay perfectly discloses in an adequate pace the touching and heartbreaking story of a man that tries reconciliation with his son filming the opera in China and finally understands the feelings of his son. It is also a story about lost chances in life to be close to those we love since people usually forget that time is irreversible and life is unique. The cinematography is amazing, as usual in Yimou Zhang movies. Ken Takakura gives a top-notch performance supported by the excellent acting of a few professional actors and actresses and an amateurish cast. The music score is very peaceful and beautiful. I have just included this gem in the list of my favorite movies ever. My vote is nine.

Title (Brazil): "Um Longo Caminho" ("A Long Way")

'Qian li zou dan qi' ('Riding Alone for Thousands of Miles') is a little miracle of a film by the gifted Chinese director Yimou Zhang, an artist highly respected for his films of passion and martial arts captured in richly symbolic fashion and spectacular color. But in this film the director joins in writing a story with Jingzhi Zou that is as intimate as his other films are operatic. It is a simple, touching story told in manner that maintains Zhang's visual artistry yet goes so far beyond the glorious color to probe universal questions.

Gou-ichi Takata (Ken Takakura) lives by himself in a fishing village since the death of his wife. Apparently he was so devastated by her passing that he left his son Ken-ichi to grow up by himself, an act that Ken-ichi has never forgiven: the two men have had no contact in many years. Takata receives a telephone call from his daughter-in-law Rie (Shinobu Terajima) informing him that Ken-ichi is hospitalized with a grave illness and pleads with Takata to come visit his estranged son. Takata complies, but on arrival at the hospital his son refuses to see him. Rie shares a videotape Ken-ichi made about his obsession with Chinese folk opera, and when Takata plays the tape he sees that his son's burning desire to tape a performance by Chinese singer Li Jiamin (who plays himself) singing the greatest of his roles - an opera names 'Riding Alone for a Thousand Miles' - was thwarted by the singer's illness at the time, Takata decides to reconcile his paternal distance and travel to Yunnan Province of China to complete his son's tape and vision.

Upon arrival in China Takata discovers that the singer is in jail and he obtains the translator services of Lingo (Lin Qiu) and Jasmine (Jiang Wen) who ultimately help him to overcome the endless red tape to gain an audience with the singer in his jail. Though Li wants to sing his famous role of Takata to film for his son, Li requests that first he be able to see his illegitimate son Yang Yang (Zhenbo Yang) who has been adopted by a little village called Stone Flower. Takata, with the aid of his translators, visits Stone Flower and the people there greet Takata with warmth and give their consent to allow Yang Yang to accompany Takata to see the father he has never met. But on the road out of China Yang Yang strays and Takata and Yang Yang spend a night in the frightening depths of a canyon: they bond with complex shared needs until they are rescued the next morning. Though Yang Yang has developed a love for Takata he doesn't want to leave his village and Takata departs back to the prison alone to tell Li. At the prison Takata shares with Li and his fellow inmates photographs of Yang Yang: everyone is so moved that Li performs the opera for Takata's son on videotape as a gesture of love.

Takata has accomplished his mission of reconciliation with his own son, but Rie calls him to inform him that Ken-ichi has died but left a letter addressed to Takata that explains how deeply moved the son is that his father would make the journey to China, riding alone for thousands of miles out of love. The gesture is enough for Ken-ichi.

Zhang tells his story in both Mandarin and Japanese and the translations reflect the differences on the two countries but also represent bridges between the ancient and the modern, between cold interior calloused heart and the warmth of love. The filming and accompanying musical score are as always in Zhang's films beautiful beyond description. This is a film to cherish, one that is so understated in its approach to father-son relationships that it will touch chords of recognition in every viewer. Highly recommended. Grady Harp

My extremely limited knowledge of Asian cinema revolves almost entirely around that of South Korea; ignorance is a word which quickly springs to mind when considering both Japan and China. Having just last night endured the interminably fatuous nonsense of the Japanese Desu Nôto, I was somewhat afeared of returning so soon to that country.

Qian Li Zou Dan Qi tells the tale of the elderly Mr Takata, who journeys from his native Japan to a small Chinese village in order to record the titular mask opera for the benefit of his terminally ill son, from whom he is a decade estranged.

Now, obviously one terrifically awful film does not an awful national cinema make. However, I genuinely was a little put off by the prospect of watching another Japanese film so soon after the preceding opprobrium. Qian Li Zou Dan Qi begins with a combination of impressive and foreboding elements: its cinematography is immediately impressive; its apparent reliance on voice-over narration to express its main character's thoughts a little primal. Both of these remain, to some extent, present throughout the film, the former continually providing breathtaking visuals, the latter offering a slight detraction to the film's potential effect. To dwell on one for a moment, the rurality of the Chinese settings provides beauty aplenty for the camera, and we with it, to gaze upon. Many are the times wherein mountainous landscapes offer a stunningly beautiful accompaniment to the oriental soundtrack, the two combining to create a powerful and moving aesthetic which, the more the film goes on, demonstrates director Yimou Zhang's artistic mastery. Aside from the opening shot, the earlier parts of the film seem to lack a distinct visual prowess, but fret not, this is more than made up for by the end. Several times, the visuals convey thematic ideas to us through a combination of sky-spanning cinematography and telling blocking (wonderful to see that element of mise-en-scène utilised well), yet this is marred somewhat mere seconds later by the voice-over presenting the same ideas. Whilst I accept that this may be an accessibility issue—cinematic language is not one universally spoken—I did feel the film could have got along perfectly without narration at all, though it is by no means a serious flaw. The theme of paternal stoicism is one which I find inherently interesting at the worst of times, and is here given a fascinating treatment, the entirety of the film's effect hinged upon Ken Takakura's beautifully subtle performance. A gentle comedy permeates the film's dramatic layers, but always finds itself immediately overturned by the sombre drama of Takakura's face, which speaks volumes upon volumes with the simplest of motions. A wonderful element of the film comes in the form of the mask opera's singer's son, and the concomitant metaphorical representation of the relationship between Takata and his own son, an interesting and wholly effective means of presenting an otherwise unrealised dynamic. The film's eventual conclusion is tear-inducingly moving, capping a story that is described encompassingly in a single, simple word: lovely.

A very finely shot film which knows how to talk to its audience with images rather than words, yet still somewhat disappointingly opts to employ them, Qian Li Zou Dan Qi is a touching Japanese/Chinese co-production which attests to the beauty of both nations' rural landscapes and cultural aspects, as well as offering a genuinely moving, poignantly performed, and universally relevant tale.