A Brighter Summer Day

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 ridicilous. Letterboxd is much better site for movie lovers.

4 hours flew by and this is epic movie. It is pretty good but it ain't Raise the Red Lantern.

This bleak Taiwanese epic based on a true story exposes the dark side of growing up in a harsh environment at a young age. I know what you're thinking, "Wow, so original." But, even though it's far from being the first film of its kind, let alone the best, it manages to stay unpredictable throughout and packs plenty of surprises; think of the grand sweep of The Godfather flicks and that's similar to what you get here. Visually, it doesn't really stand out in any significant way - at least from the print I saw. Instead, going for a more down-to-earth, gritty approach, which I liked because it suited the material. With that said, Director Edward Yang makes great use of long shots and keeps things very subtle, and I honestly can't think of a single bad or out-of-place angle in the film. The cast consisting almost entirely of nonprofessionals is very natural in their roles, even eerily believable at times when the film reaches disturbing moments - and there's a lot of those. It's a no-holds barred film that refuses to compromise itself for the sake of making the viewer feel safe or comfortable.

As a coming-of-age film, it's one of the very best. As a tragic romance, it delivers due to its Shakespearean quality. As a crime film, it can stand toe-to-toe with some of the very best of them. Even more impressive is that the film is able to cover so many important and (still) relevant issues and effectively explore the human condition without any heavy-handed morals or messages. The film is as straightforward and honest as they come, making it that much more engaging. And yet, despite all its qualities, it's not a film with universal appeal. Most would frown at its bleak approach and wonder where all the praise comes from. Others would skip it entirely due to it being a slow 4 hour film with no exploitative elements. Others would be wishing everyone were killed off and/or there was more action and pretentious imagery they could easily gravitate towards. Others.....well, I think you get the picture. Ultimately, those who would get the most out of this film are those who are willing to acknowledge that the world is a messed up place and some movies are going to reflect that. So, if you're easily offended, go back to watching "safe" Hollywood pictures, because you won't be able to appreciate this underrated gem. And yeah, that's me being a condescending prick. Sue me, what I say is true, and those who have seen the film know I'm right.

I'm going to go ahead and admit right off the bat that what I just wrote does not do justice to the film's level of substance and depth. This is merely a description. Others have gone far more in-depth into what makes the film so good than I'm capable of doing from a single viewing, so I recommend reading what they've wrote as well.

I just finished watching this four hour epic and something tells me that this is going to remain with me for a long, long time. I was glad I entered the cinema hall with no foreknowledge of what the film was about or anything about the story, except that it was directed by Edward Yang, whose Yi Yi I liked. Am I not glad I did that? The entire film, especially the second half, is an emotional powerhouse. Its funny, sociological and emotionally brutal.

The four hour run time was quite a deterrent however I planned it well and took one bathroom break but it was all worth it in the end. I would not recommend that you read anything of the story before you watch the film because several of the reviews above have spoilers in them. All I'll say is that it is about street gangs, but like nothing you've ever seen. It about lost childhood and children growing up so fast that its scary. The fact that all of this really happened makes it chilling.

I'm surprised that not many people have seen this film yet because it certainly deserves a classic status. The direction is probably one of the best I've ever experienced and I will definitely seek out other Edward Yang movies to watch.

The acting by all the teenage actors and children is nothing short of brilliant and I can see that some of the key actors never acted in another movie again which I believe is a waste.

I don't think its out on video as yet, however I would highly recommend that you seek it out. In my opinion the film demands total attention and is best watched on the big screen rather than on video.

Edward Yang's "A Brighter Summer Day" is an enormous film, not only in length but in its ambitious attempt, through homing in on a particular group of people in a specific time and place, to define the attitudes of a nation undergoing an identity crisis. The time is the early '60's, the place a suburb of Taipei, the characters mostly groups of adolescents. Like his great fellow compatriot Hou Xiaoxian, Yang hurls happenings at you without explaining who is who. He makes an enormous demand on his audience in forcing us to make all the connections. As his cast here runs into dozens and many scenes take place in semi-darkness, it is far from easy, particularly for a Western viewer to whom so many Orientals look alike, to make these connections on a first viewing. Indeed I would say that after four viewings I am still working out who is who. That I have not given up and am still in the process of unravelling can only be ascribed to a gut reaction from the first that this is a work of tremendous integrity and skill. The film deals mainly with gang warfare between rival groups of youngsters, which, it is suggested, reflects their search for identity at a time when their parents have lost theirs after years of Japanese occupation followed by the post-revolutionary separation from their Chinese mainland roots. As a diversion from gang warfare some of the youngsters find an outlet in American music, particularly the songs of Elvis. The film mainly follows the course of one boy, S'ir, as he moves from early to late adolescence. There are others who are presented as having a stronger sense of character; Ma, the "General's son" for instance who lives in a household a cut above the rest and Honey, a young man in a sailor suit, who exudes a sense of honesty and authority that holds the others in thrall. But it is S'ir whom the film doggedly follows, S'ir who seems to possess nothing much more than a bad temper and a developing desire, perhaps mainly through peer pressure, to have a young girl who will be faithful to him. It is his frustration in trying to achieve this that leads the film towards a climax that is as ugly as it is tragic. However, not before we have lived through a number of scenes that are wholly remarkable, none more so that a savage attack between rival gangs, some resorting to samurai swords - a reaction perhaps to their parents' detestation of all thing Japanese - which takes place in semi-darkness in a powercut during a tropical storm; the very stuff of late Goya, merciless and unblinking.

This film is prefaced in a historical context, with the understanding that Chinese Taiwan was formed in 1949 with several million Chinese being forced to cross over into Taiwan from mainland China, into a world they knew nothing about, so they were required to build their new lives with great insecurity about the future, and this film is about their first generation of offspring, the anxieties of the parents created a world of anxieties for their children, who search for their own greater security and their own self identity through the formation of street gangs, whose inner turmoil is largely a reflection of the world around them. The Taiwanese identity is revealed to be a sense of perpetual exile.

Edward Yang's own father fled from Shanghai. Artifacts from other countries have great impact in this film, the use of Japanese samurai swords which are ultimately used as murder weapons, Russian novels are read by teenagers and understood as `swordsmen' novels, a family's observation that the Chinese fought the Japanese for 20 years only to then live in Japanese houses listening to Japanese music, an old tape recorder that has been left behind by the WWII American forces is used to adapt American lyrics and American rock n roll music for the Chinese, the film features American doo-wop music, first love, cigarettes, casual dress, the influence of Hollywood motion picture magazines and movies, the voice of John Wayne can be heard in one of the movie theaters, the title of the film comes from the Elvis Presley song, `Are You Lonesome Tonight,' a comment on the dark cloud hanging over everyone's heads, hardly a brighter, summer day.

The film took 5 years in preparation, and although completed in 1991, it has never found a distributor, it involves a cast of over 100 speaking parts, largely non-professional teen-age actors, 92 different sets, it takes place in the poorer Tapei district in 1961, using the filmmaker's own memories of his adolescence, shot at his high school, inspired by a true incident of a 14 year old boy murdering a 13 year old girl, the first juvenile murder case in Taiwan's history, the film opens and closes with an old, broken down radio broadcasting the lists of graduating students. In this context of a repressive, militaristic government, family chaos, the constant threat of gang fights, the need for a good education, the idea that hard work can bring success, is seen as paramount.

For all those `Yi Yi' fans who don't understand the complexity of this film, let me just remind you about the title, `A Brighter, Summer Day,' this is a film for which those words have no meaning, and unlike `Yi Yi,' which had the charming optimism of Yang-Yang, an as yet undeveloped child who has a future, `Yi Yi ` was much more a `perfect' film, everything was neatly examined and explained, there's a perfect symmetry, on whole it's balanced, it feels like a complete experience, but `A Brighter Summer Day' offers no such peace of mind, it's a raw emotional roller coaster where the last hour or so is filled with such complete anguish and despair, nearly all the family members have their singular moments where they are the focus of the pain and anguish, the understated personal horrors can leave one breathless. Most of the world's viewing audience of films have been spared this kind of personal degradation, and therefore have no personal reference points to connect with such despair, but Yang, to his credit, spares no one. The film's greatness lies in it's complete lack of artifice, it's meticulously chosen shot selection, brilliant imagery mixed with an equally brilliant narrative, a devastating portrait of children on the precipice of darkness, one of the more complex human examinations of the after-effects of a subjugated nation, which is still, at heart, a police state, yet there is a breaking out from the bonds of repression by rebellious teen-age kids who have affectations of violence and a love of Elvis, freedom, and rock n roll.