The Bird People in China

Takashi Miike is the living definition of the word "indefatigable". In a career that began in the early 1990s, he has directed a staggering number of films in a mind-boggling array of different genres, from horror to family films, even a musical (!); but Miike is probably best known for his Yakuza (Japanese gangster) films. The likes of FUDOH, ICHI, and DEAD OR ALIVE, with their over-the-top violence and surreal (often disgusting) setpieces, are Miike's chief claim to fame. In one respect that's a pity, because every once in a while, Miike will produce a wild card, and BIRD PEOPLE IN CHINA is a film that fits into that latter category. The man character is a young Japanese executive named Mr. Wada (Masahiro Motoki), who is sent by his boss to a remote region in the wilds of China to survey a supposedly rich jade mine. He is joined on his trip by a Yakuza named Ujiie (Renji Ishibashi), who plans on taking the jade as payment for some outstanding debts on the part of Wada's boss. After they are taken as far as the train will go, Wada and Ujiie are met by their guide, the absent-minded Mr. Shen (scene-stealer Mako), who takes them through the rugged, unsettled terrain of rural China, first on foot, and then on a raft pulled by several huge sea turtles. When the three men finally reach their destination, a village left untouched by the ravages of industrialization, Wada and Ujiie have a few epiphanies that will prove to make leaving rather difficult. It sounds like a simple story, and it is, but there's something about this film that makes it great, but that I find hard to articulate. No doubt the startlingly beautiful cinematography by Hideo Yamamoto has a lot to do with the film's hypnotic quality. And then there's the genuinely touching story of two men who discover a whole other side to themselves that they were never previously aware existed. And finally, the film's deft blend of genres is seamless: it shifts gears from a screwball/buddy comedy to a jungle-bound adventure to an existential rumination on identity and civilization, finally ending on a dream-like note of perfect serenity. There is one scene of Yakuza violence that seems inserted to remind us that we're watching a Miike film, but it's fleeting and, compared to some of what can be found elsewhere in his films, it's utterly tame and inoffensive. There's also an ecological message packed into the mix. So, final verdict: for fans of Miike who wonder what else the man is capable of, I highly recommend BIRD PEOPLE IN CHINA, surely the gentlest and most poignant of all the man's movies (at least that I've seen). For the truly open-minded aficionado, there is much to be enjoyed here.

I got hold of this film simply because I spent some time travelling in Yunnan last year. Seeing it today was magical, so evocative of the people, this lush country, the amazing sense of isolation and belonging. Made me want to throw down this job and go straight back again. This is an enjoyable, thoughtful, well made film; the star really has to be the setting though, that feeling of all the time in the world, being with the aged mountains to watch the days go by. You can really understand what drives Ujiie near the end of the film. The sense of impending loss, as even now China marches its wilderness towards modernity, balanced with the benefits its people hope for. The phenomenon of the global tourist has to now decide how it accepts the replacement of the way of life for the self-determining people they go to visit.

I saw my first Miike film, the cinematic suckerpunch of "Audition", about two years ago and, slowly but surely since then, I've been building up my steady little collection of his works as my respect for him grows. Admittedly, as yet, I've barely scratched the surface of his obscenely prolific oevure but with each gem I uncover, it merely reinforces my absolute adoration of unquestionably the most fiercely original filmmaker I've ever encountered. His unflinchingly diverse career is one constant curve ball - I become excited each time I find another film of his because I never have ANY idea what to expect. Not only are two Miike films rarely alike, but the vast majority of his efforts I've seen to date are simply beyond comparison to ANYONE. He ploughs a unique furrow that, rather than imitating the style of his masters, sets new standards in cinema for the rest of the world to, at some stage, catch up with.

Tonight I watched "The Bird People In China" (made in 1998) which is, without question in my mind, the most mindblowing Miike film I've come across so far. "Bird People" is the type of masterpiece that most directors could never possibly hope to achieve, even after years of practice... But to give you an idea of this man's insane work ethic - he also made three other movies that year.

Typically genre-bending, "Bird People" begins as a quirky, gently comic adventure story and gradually morphs into a truly epic exploration of the very nature of human emotion, loaded with rare insight, a deep, true warmth and some utterly unforgettable imagery.

Our strange story begins with Mr Wada (Mashahiro Motoki), a Japanese businessman, being shipped off to China by his company in search of a priceless vein of Jade that can only be found in a small village amongst the unchartered depths of the Yun Nan province. Upon his arrival in the country, he is quickly accosted by Mr Ujiie (Renji Ishibashi), a Yakuza who is owed money by Wada's corporation and intends to collect his debt by following Wada out to the village and usurping some of the Jade. They are to be guided by the perpetually jolly but somewhat seedy Mr Shen, an old Chinese explorer who has been to the Jade Village before.

It's not long until they're way off the map, stuck on a rickety raft that's pulled by turtles and smack-bang in the middle of a Mountain range. Shen, around this point, has a rather embarrassing incident with hallucinogenic toadstools, bumps his head on a tree and loses his memory of how to find the village. This is when things start getting a little strange, as the three mismatched men find themselves on an overwhelming adventure that will inevitably shape their entire lives and change them all forever.

To analyse the film's rabid lust-for-life philosophy and examine the complexities of the script would be a media student's dream come true. Rich in symbolism and wild directorial flair, Miike continually pushes the question of whether technological progress, modern day perceptions of civility and even spoken language itself are adversaries or allies to man's untamed nature and desire to be free.

Yadda-yadda-yadda - I know that, as a subject of discussion, it sounds like old hat (and I'm probably doing little more than making this come across like a glorified road movie) but Miike uses a combination of hugely unpredictable situations, poetic dialogue and some of the most unbelievable, bizarre and downright beautiful imagery I've ever seen. Loaded with breathtaking aerial shots of sumptuous green vistas, the film is shot with such magnificent grace as to make it unrecognisable as more being from the same eye responsible for unleashing the breakneck splatterpunk deathtrip of "Ichi The Killer" upon the world. The crowning jewel, however, is Miike's trademarked humour - self-deprecating, occasionally misanthropic and surreal, but ultimately just very funny indeed. There are many genuine laugh-out-loud moments in amongst the soul-searching and Deep Thoughts (tm), which make the film infinitely more accessible and, well... human.

Of course, I'm of the firm belief that a film is only as good as its ending and (with the possible exception of "The Wicker Man"), I don't think I've seen one that packs as much of a punch as this one. I have no desire to spoil any second of this movie for anyone, so I'll just say that the final few frames of "The Bird People Of China" are some of the most pleasantly surprising and magically filmed images I've EVER seen - it just left me slack-jawed, reeling with joy and wonder.

If you're not sold on how much you need to see this film already, I'm afraid there's no hope for you. This is as good as it's ever going to get. Seriously.

Another gorgeous film from Miike (is it the filters, film stock, or the Chinese landscape that makes it all so visually engrossing?) that trades in incessant, sensationalistic violence for light-hearted (relatively speaking) fantasy. Which is not to say that Chûgoku no chôjin avoids heavy social topics while maintaining its calm demeanor: the inevitable encroachment of civilization, and the assimilation/annihilation of traditional rituals and beliefs in the sweep of modern culture are issues thoughtfully explored along with arresting images of unspoiled Chinese vistas by frequent Miike collaborator Hideo Yamamoto. An unusually pensive yet rewarding experiment from Miike, and one that continues to prove there is much to his oeuvre besides global destruction, excruciating torture scenes, and zombie dance numbers.

A businessman is sent to a remote village to investigate a jade mine. He's joined by a debt-collect Yakuza. But what they find is much more valuable. I can't really go into any more detail though. Partly because I don't wish to spoil one single moment of the magic or wander of this great film and partly because even if I were to go into detail my mere words wouldn't do it justice. The is a film you have to watch, nay, experience for yourself. Do NOT go into it expecting over-the-top violence, graphic deviant sexuality, or any of the other ingredients of more well known Takashi Miike films as this is more than that MUCH more. One of, if not THE best film in Miike's quite impressive extensive cannon.

My Grade: A

DVD Extras: Commentary by Miike expert, Tom Mes; Takashi Miike interview; Bio/Filmagraphies; Promotional material; Annie Laurie bio and poem; Theatrical Trailer; Trailers for "Shinjoku Triad Society", "Rainy Dog", and "Ley Lines"