City of Life and Death (2009) Poster

City of Life and Death (2009)

  • Rate: 7.6/10 total 3,778 votes 
  • Genre: Drama | History | War
  • Release Date: 22 April 2009 (China)
  • Runtime: Hong Kong:132 min | Argentina:132 min (Mar del Plata Film Festival) | France:133 min | USA:133 min
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City of Life and Death (2009)

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  • IMDb page: City of Life and Death (2009)
  • Rate: 7.6/10 total 3,778 votes 
  • Genre: Drama | History | War
  • Release Date: 22 April 2009 (China)
  • Runtime: Hong Kong:132 min | Argentina:132 min (Mar del Plata Film Festival) | France:133 min | USA:133 min
  • Filming Location: Changchun, China
  • Budget: $12,000,000(estimated)
  • Gross: $119,922(USA)(30 October 2011)
  • Director: Chuan Lu
  • Stars: Ye Liu, Wei Fan and Hideo Nakaizumi
  • Original Music By: Tong Liu   
  • Sound Mix: Dolby Digital
  • Plot Keyword: Siege | Chinese | Battle | Marauder | Death Of Daughter

Writing Credits By:

    (in alphabetical order)

  • Chuan Lu  writer

Known Trivia

  • The film was actually shot and printed on color film stocks; the image was desaturated in post-production. Cinematographer Yu Cao wanted to both shoot on real black & white and make release prints on a black & white positive. However, during testing he found the negatives to be grainier than he liked, and the producers thought that printing on black & white would have been too expensive.
  • It took 4 years and cost RMB 80 million (about US$11.7 million) to make.
  • Beijing claims that 300,000 people died in Nanjing and many were tortured or raped when Japanese troops invaded what was then the Chinese capital.
  • Witnesses at the time said at least 20,000 women were raped and there were widespread reports of other atrocities.
  • In 2005 there were angry protests in China after Japan published school text books which China claimed played down the country’s war time atrocities.
  • Japanese politicians have also sparked anger in China by visiting the Yasukuni shrine, which honors fallen Japanese soldiers, including 14 convicted war criminals.
  • Bin Liu, the 9-year-old boy that played a young Chinese soldier, grew 14 centimeters (5 1/2 inches) during his 8 months as a cast member.
  • According to the director, the character “Miss Jiang” was inspired by Iris Chang, the author of “The Rape of Nanking”.
  • Nanjing is he capital of Jiangsu province, China, whose name means Southern Capital.
  • The film spent a long time clearing its way through the Chinese censors. It took six months for full script approval and another six months for the finished film to be approved.

Plot: in 1937 Japan laid siege to Chinese capital of Nanking, this is a dramatization of the battle.  »

Story: in 1937 Japan laid siege to Chinese capital of Nanking, this is a dramatization of the battle.

Synopsis

Synopsis: City of Life and Death is the third feature film directed by Lu Chuan. The film is also known as it’s Chinese release title: Nanking! Nanking! (or Nanjing! Nanjing!).

The film deals with the Battle of Nanjing and its aftermath during the Second Sino-Japanese War. City of Life and Death takes place in 1937 during the Imperial Japanese Army’s capture of the then-capital of China, Nanjing. the capture of the capital and the ensuing bloodshed is known as the Nanking Massacre, or the Rape of Nanking; a period of several weeks when tens of thousands of Chinese soldiers and civilians were killed. The film tells the story of several figures, both historical and fictional, including a Chinese soldier, a school teacher, a Japanese soldier, a foreign missionary, and John Rabe, a Nazi businessman who would ultimately save thousands of Chinese civilians.

 

FullCast & Crew

Produced By:

  • John Chong known as producer
  • Sanping Han known as producer
  • Hong Qin known as producer
  • Steffen Wild known as consulting producer
  • Andy Zhang known as producer
  • Li Zhou known as producer

FullCast & Crew:

  • Ye Liu known as Lu Jianxiong
  • Yuanyuan Gao known as Miss Jiang
  • Hideo Nakaizumi known as Kadokawa
  • Wei Fan known as Mr. Tang
  • Yiyan Jiang known as Xiao Jiang
  • Ryu Kohata known as Ida
  • Bin Liu known as Xiaodouzi
  • Yuko Miyamoto
  • John Paisley known as John Rabe
  • Beverly Peckous known as Minnie Vautrin
  • Lan Qin known as Mrs. Tang
  • Sam Voutas known as Durdin (as You Sima)
  • Di Yao known as Tang Xiaomei
  • Yisui Zhao known as Shunzi
  • Junichi Kajioka known as Japanese Newspaper Reporter (uncredited)

..

 

Company

Production Companies:

  • China Film Group
  • Chuan Production Film Studio
  • Jiangsu Broadcasting System
  • Media Asia Films
  • Stellar Megamedia

Other Companies:

  • Cinerent  camera and lighting equipment supplied by
  • Kodak Cinelabs  film processing

Distributors:

  • Media Asia Distribution (2009) (worldwide) (all media)
  • Applause Entertainment (2009) (Taiwan) (theatrical)
  • Distribution Company (2010) (Argentina) (theatrical)
  • Kino International (2011) (USA) (theatrical) (North America) (subtitled)
  • Lark Films Distribution (2009) (Hong Kong) (theatrical)
  • Metropolitan Filmexport (2010) (France) (theatrical)
  • Nutopia (2010) (Greece) (theatrical)
  • Shaw Organisation (2009) (Singapore) (theatrical)
  • A-Film Home Entertainment (2011) (Netherlands) (DVD)
  • Argentina Video Home (2011) (Argentina) (DVD)
  • Carmen Video (2009) (Russia) (all media)
  • Film1 (2011) (Netherlands) (TV) (limited)
  • Golden Screen (2009) (Malaysia) (all media)
  • Gryphon Entertainment (2012) (Australia) (DVD) (as 'City of Life and Death')
  • High Fliers Distribution (2009) (UK) (all media)
  • Karma Films (2009) (Spain) (all media)
  • Mega Star Video Distribution (2009) (Hong Kong) (DVD)
  • National Geographic Cinema Ventures
  • New KSM (2010) (Germany) (DVD)
  • Rose Media and Entertainment (2009) (Thailand) (all media)

..

 

Other Stuff

Special Effects:

  • Centro Digital Pictures Ltd. (visual effects)

Visual Effects by:

  • Churk Harry known as visual effects artist
  • Eric Lo known as senior visual effects artist
  • Don Ma known as visual effects
  • Joey Tang known as digital compositor
  • Yan Zhou known as title designer: China Film Group

Release Date:

  • China 22 April 2009
  • Hong Kong 7 May 2009
  • Canada 11 September 2009 (Toronto International Film Festival)
  • Spain 21 September 2009 (San Sebastián Film Festival)
  • Greece 23 September 2009 (Athens Film Festival)
  • USA October 2009 (Hamptons International Film Festival)
  • Singapore 8 October 2009
  • South Korea 10 October 2009 (Pusan International Film Festival)
  • Poland 12 October 2009 (Warsaw Film Festival)
  • UK 28 October 2009 (London Film Festival)
  • Taiwan 30 October 2009
  • USA 1 November 2009 (AFI Film Festival)
  • Argentina 7 November 2009 (Mar del Plata Film Festival)
  • USA January 2010 (Palm Springs International Film Festival)
  • Greece 28 January 2010
  • Netherlands 29 January 2010 (International Film Festival Rotterdam)
  • Russia 11 March 2010
  • Spain 9 April 2010
  • USA 9 April 2010 (AFI Dallas International Film Festival)
  • Ireland 16 April 2010
  • UK 16 April 2010
  • USA 22 May 2010 (Seattle International Film Festival)
  • Argentina 27 May 2010
  • France 7 July 2010 (Paris Cinéma)
  • France 21 July 2010
  • Australia 24 July 2010 (Melbourne International Film Festival)
  • Finland 19 September 2010 (Helsinki International Film Festival)
  • USA 11 May 2011 (New York City, New York)
  • Netherlands 21 July 2011 (DVD premiere)

MPAA: Rated R for wartime violence and atrocities including sexual assault, and for some sexuality and brief nudity

..

 
 

Filmography links and data courtesy of The Internet Movie Database


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Posted on March 30, 2012 by Harry in Movies | Tags: , , , .

10 Comments

  1. yuseric from China
    30 Mar 2012, 2:23 am

    I'm an overseas Chinese, growing up listening to my grandfather tellingthe stories about how bad the Japanese Military treating the Chinesepeople in WWII.

    I saw some of the movies made back in the 80's/90's about the rape ofNanking, to me they are exploitation movies and never affected me orleave me with profound experience. I'm actually disgusted with themmaking such low movies. Also most of the documentaries I watched neverreally does anything.

    I watched Nanjing! Nanjing! – City of Life and Death tonight and itreally drained me emotionally, the movie really depicting the realface/real ugly side of war, where the victims are always the people,doesn't matter what wars or which countries.

    The movie itself doesn't really do the finger pointing like othermovies, but it just showing, in my opinion, the fair view on what wasgoing on back then without taking sides.

    And it's show one thing, the most profound thing to me, that TheChinese people can endure a lot of hardship that life throw at them andthat's possibly why their cultures and civilization last for a longtime.

    Highly recommended for people who never really know this part ofhistory, as Chinese I know about it, but for lot of my westernersfriends who never been to China, they only heard about it but didn'trealize how crazy it was and how significant is this event for theChinese people. Most people know the atrocities the Nazis did in WWII,but not the Japanese Atrocities.

    Watched it and let's pray there won't be WW III or any wars at allactually.

  2. Simonster from Berlin, Germany
    30 Mar 2012, 2:23 am

    Viewed at the Festival de Cannes 2009 (Market screening)

    Since I am not Chinese, or of Chinese extraction, City of Life andDeath has a different resonance for me. I know of the Nanking massacre(for which, it has to be said, the Japanese have yet to apologise oreven properly acknowledge) from my own interest in history, as well asthe John Rabe story (the Nazi who helped save thousands of Chinesecivilians, until recalled to Germany since Hitler did not wish to upsethis Japanese allies).

    Therefore, for me, City of Life and Death retells a fearful part ofhistory, but not one with which I have any direct connection. So whilethis film may resonate a certain way for Chinese viewers, be they fromthe mainland, Hong Kong or overseas Chinese, I can tell you that I, asa European, have seldom seen a film so powerful, gripping, dramatic andmoving.

    City of Life and Death is not nationalistic propaganda or areversioning for the screen: no punches are pulled. The woman next tome was in tears. So be warned, this is not easy viewing. But byfeaturing on a few characters, allowing them to become fullythree-dimensional human beings (not Chinese, not Asian, but humanbeings who live, love and feel) director Lu Chuan makes his audiencefeel and share their fear and terror as the Japanese invaders commitatrocity after atrocity on the fallen city's inhabitants. Never forget,this actually happened.

    If anything, Lu Chuan soft pedals on the horrors. They are depicted,but are not front and centre. This is not a horror film so gore houndsand ghouls should seek their thrills elsewhere. Rather, it is thearbitrariness with which the Japanese went about their murderous workthat scares. Wrong place, wrong time: rape, torture, murder. Thiswasn't the efficient, methodical murder the Nazis introduced, butrather cold brutality, as a cat toys with a helpless mouse. Unthinking,unreasoning, just because.

    Filmed in black and white, City has so many images and scenes thatremain fixed in you mind long after the final credits have rolled. LuChuan even selects the grain and grading according to the action. Theuse of colour would, in this case, have weakened the film.

    But if City of Life and Death were just two hours of suffering it wouldbe unworthy of an audience. So Lu Chuan gives us the central charactersof Mr. Tang (John Rabe's secretary), Miss Jiang (a schoolteacher) andKadokawa (a sensitive Japanese soldier who witness but cannot delay theunspeakable). All of them are helplessly swept up in the maelstrom,which Lu Chuan leavens with scenes of (attempts at) normal life, normalhuman interaction and naked attempts at survival. These are people withwhom one can identify and empathise.

    Yet, at heart, City of Life and Death is extremely uplifting. Themessage, at the end, is positive and optimistic. In writing thisreview, the film is coming back to me again. What I once read, blackand white on a page, has been made real for me and, yes, I'memotionally moved by it.

    If you believe in the power of film, want a break from popcornentertainment, are looking for a film that can make you feel (asopposed to having your emotions manipulated) then please go see thisone. It's rare when I think a film should be seen, deserves to be seen,but City of Life and Death belong in that very rare category.

  3. simon-bensasson from Greece
    30 Mar 2012, 2:23 am

    I finished watching this film two hours ago and the punch in thestomach I received watching it still hurts. I don't recall havingreceived such a punch in my 60 or so years of film watching. Unlikefilms such as "Schindler's List" or "Empire of the Sun", this film doesnot take sides. It's like a candid camera operated by an invisiblegrand master hidden in the crowd or the rubble. It's just thererecording events. As a result, despite the fact that it focuses on thebig picture, the individual is not lost: Both the Chinese and theJapanese, each and every one of them, in huge crowds are realbelievable characters. This gives the viewer a grand and horrible senseof presence which is what makes it so painful. It would take courage towatch it again.

  4. Stone Chen from China
    30 Mar 2012, 2:23 am

    Unlike Shindler's List or John Rabe, this film focuses not on oneparticular hero in this kind of atrocities, but the countless ordinarypeople suffering from the horrors of war. Director Lu did anexcellently balanced view, some may say too balanced, from thecivilians and the soldiers – Chinese and Japanese alike during the rapeof Nanking. The subject matter is profound, the acting is top-notch,the cinematography is excellent, however, the pacing is deliberatelyslow to match the mood of the film, making me wonder some time how longI had to suffer through. The ending is also a disappointment, when thedirector tries way too hard to make life the symbol. Still, overall,the movie is good, important and relevant. Watch it.

  5. vitaminxu from Nanjing, China
    30 Mar 2012, 2:23 am

    I'm a Chinese, I live in Nanjing.

    Since i was in primary school, i've watched a lot of movies about theslaughter in Nanjing in 1937. We've been told and taught that 300,000Chinese were killed in that slaughter, most of them were refugees.We've seen so many cruel photos, read so many articles, and heard thevivid reports of some survivals, which has made 1937's Nanjing a scaron the heart of every Chinese, especially the old ones who witnessedthe slaughter, and their descendants.

    I don't want to talk too much about the hates between Chinese andJapanese. Why I think "Nanjing! Nanjing! " the greatest movie aboutthis tragedy, is that when LU Chuan shot this movie, he not only putaway his hates, but even used an angle of a Japanese soldier, and daredto show the soldier's sympathy and humanity. This movie is logical,rational and together with deep emotion. It's not simply a movie forChinese people to deepen their hates on Japanese, it's a movie forpeople all over the world to see, to know, to experience and to explorewhat Japanese have done to Nanjing in 1937. It's not anothertraditional movie about Nanjing Slaughter which describes Japanesesoldiers as some mentally disordered ones, as demon; it shows that whathappened in Nanjing in 1937 was simply a slaughter human done to human.Just because this movie was shot without hates without slants withoutsharp emotions, it has demonstrated the most powerful thing in theworld: truth.

    Nanjing, 1937, not matter Japanese admit its existence or not — we mayforgive, but never forget.

  6. DICK STEEL from Singapore
    30 Mar 2012, 2:23 am

    The last Rape of Nanking event film I had watched, was the docu-dramaNanking back in 2006 during the Hong Kong International Film Festival.With interviews conducted with real survivors, I was riveted to listento their account of the atrocities conducted by the Japanese soldiers,and you empathize with them as they relive their memory and make themknown. The dramatic elements were nicely presented as well, withnotable names reading off memoirs and letters pertaining to individualepisodes, which collectively make up the brutal horror, a living hellif you would, of the conditions of occupation.

    Lu Chuan of Kekexili fame has crafted this fine film that looks into 2broad episodes – the first few hours of occupation which will satisfyaction junkies, and the later half which looked into the atrocitiesthat were committed some 1 week into occupation, from within aninternational safety zone set up by Westerners, led by German JohnRabe, who gets some concession by virtue of Nazi Germany being Japan'sally.

    There's the controversial aspect of the film though, where it doesn'tdemonize the invading force right away. Instead, I lauded its realisticportrayal of the human condition of Fear when we go into the unknown,and this emotion gets vividly captured in the first few minutes of themovie, setting the tone of the entire film, where fear drives us to doinhumane, barbaric acts. That being said, it doesn't shy away fromreenacting the atrocities committed against the Chinese, from bayonetstabbings, mass burials of breathing souls, burning and the machinegunning of surviving soldiers, and rape.

    Filled with plenty of characters each given a specific purpose in thefilm, either representative of an historical legend, or collectively asa group, it makes you feel for the individual with documentary-likeprecision, and I am somewhat intrigued at how one can feel so muchthrough the simple camera work of going real close to the actor's face,and lingering onwards to capture moments of despair and bewilderment.

    If there's one film you should see this year, then don't miss this one.I only hope that it gets played in a decent cinema hall with a greatsound system, otherwise it'll do this film no justice. Certainly acontender for one of my films of the year, and comes highlyrecommended!

  7. george karpouzas
    30 Mar 2012, 2:23 am

    A very fine movie, strong and rather heavy. I was relatively familiarwith the events that took place in Nanjing therefore I was notsurprised by the atrocities I saw reenacted on the big screen.Thedevice of shooting the film in black and white was effective, in thesense that it created an impression akin to a documentary or a currentaffairs reportage of the age. Alessandro Ahmenabar may have said thathe wanted "Agora" to give the impression that it reported events from4th century A.D. Alexandria like a CNN live correspondence but I think"The City of Life and Death" was the movie that succeeded on that,giving to the spectator the impression of watching the events in livecoverage.

    Although it portrayed numerous atrocities, it masterfully avoided thetrap of succumbing to "pornography of violence". It also tried to treatthe incidences of mass rape and "comfort women", which after all arethe reasons that the conquest of Nanking became notorious and was namedThe Rape of Nanking, in a relatively discreet manner, the only onepossible.

    The actors were expressive and one must note that this multi-persondrama, lacking a protagonist was reminiscent of the technique of thefilms of Robert Altman also lacking a protagonist.

    It was also a good idea to create a positive and repentant Japanesecharacter in order to alleviate the obnoxious impression that theviewer would form about the Japenese people in general.

    I do not know whether there is a propaganda value in this movie butjudging it a work of art, being not involved in Sino-Japanese affairs,I find it outstanding.

  8. ma-cortes
    30 Mar 2012, 2:23 am

    Big budget WWII epic , it happens when China is invaded by Japan at theonset of war and finds Japanese army surrounding city of Nanjing(1937). After that, at the city take place violations, mutilations, andmassacres. Some prisoners are interred in a prison camp but later theyare led to fire squad, scaffold and alive burying.

    Director deglamorizes war showing true horror and terrible events. It'sa staggering evocation of the Chinese Holocausto in Nanjing , as theatrocities are depicted matter of factly as by-product of sheerJapanese evil. The opening twenty minutes graphic depiction the facingoff is , on its own, magnificent. The film-maker Chuan Lu is nicknamedthe Chinese Steven Spielberg for his spectacular and impressiveproductions. As the moving beginning results to be as stirring as¨Saving private Ryan¨ , the developing of the movie regarding invasionChina is partially similar to ¨Empire of the sun¨ and suffering ofChinese people bear remarkable resemblance to Jews of ¨Schlindler list¨.The starring, Nakaizumi, and the rest of the cast are excellent , asthe movie is powered by splendid performances in charge of Chinese andJapanese actors who during filming suffered some inevitablediscussions. Filmed in perfect black and white by cameraman Cao Yu ,reflecting appropriately the grim and rotten environment .Lu Chuanmakes a breathtaking work which directs spectacularly withgroundbreaking scenes in a heartbreaking context.Chuan dedicated aboutthree years joining information and interviewing experts for thatscenes would adequate to reality of events. This masterpiece finallygarnered the world attention and respect that the story deserves,winning several prizes in various International Festivals.

  9. Turfseer from United States
    30 Mar 2012, 2:23 am

    Chuan Lu, the talented director of 'City of Life and Death', was facedwith a quandary in attempting to recount the "Rape of Nanking", perhapsthe single greatest series of atrocities committed by the Japaneseoccupation force during the Second Sino-Japanese War in 1937. Just asthe Jewish people always say "never forget" when it comes toremembering the Holocaust, the Chinese people also feel compelled to"never forget" and recall their own Holocaust. But Mr. Lu can't ignorethe fact that the Japanese people of 1937 are not the same people oftoday, and his compulsion to reconcile the past and the present wasperhaps his greatest challenge in writing the screenplay.

    Ironically, Lu ended up receiving death threats, not from the Japanesebut from some Chinese people who felt that he did not extract asufficient enough "pound of flesh" as compensation for those whosuffered during the Occupation. I can recall my own grandparents, whohad relatives that were killed in the Holocaust, speak ever so harshlyof the Germans and wanted nothing to do with any of them—even thoseborn after the War. Because it was an emotional issue, they ignored theBiblical admonition found in Ezekiel 18:20: "The person who sins willdie. The son will not bear the punishment for the father's iniquity".The same can be said for many Chinese people who are unable to forgivethe Japanese, even though rationally it makes no sense that those bornafter the war are blamed for their parents or grandparents' crimes.While Director Lu's reconciliation strategy is a noble one, I'm notcompletely convinced the way he went about expressing his attitude of'forgiveness' toward the Japanese, enhanced the story, strengtheningits verisimilitude.

    Where the film is successful, is in the multitude of indelible imagesthat re-create the horror show that was 1937 Nanking. The images fromthe film's opening sequence are shattering as they suggest anescalating atmosphere of terror that affected both the Chinese civilianand military population . One image that really sticks in my mind arethe Chinese soldiers trying to escape the walled city and areunsuccessfully held back by their commanders. For those soldiers whostayed behind, they're shown to be courageous as they fight backagainst an overwhelmingly superior force. When they are finallydefeated and surrender, the brutal Japanese soldiers take no prisoners.Some are herded into a warehouse with the doors locked shut and thenthe building is set on fire. Others are marched to the ocean and almostall are machine-gunned to death. Before they're murdered, the soldiersshout "Long live China" and again show their courage against theirbrutal occupiers.

    Worse is what happens to the civilian population, especially theChinese women. The Japanese force the leaders in the 'Safety Zone' (anarea where refugees were supposedly protected by an agreement withinternational observers) to select 100 women to serve as prostitutesover a period of three weeks for the Japanese soldiers. The women arestrapped to beds and are raped continuously through the day and night.Some fail to survive the ordeal and who can forget the scene where thesoldiers carry out the nude corpses in a wheelbarrow? The strategies ofthe Japanese troops recall the sadism of their Nazi counterparts in thebook & film, 'Sophies Choice'. You'll recall that Sophie was forced toselect one of her children over another by the Nazis. In Nanking, theJapanese play their own little sadistic game—they lead families tobelieve that their loved ones will be let go—but then order thefamilies to choose only one!

    Of all the characters here, Mr. Tang is the most compelling. Tang wasJohn Rabe's interpreter and assistant. When Rabe informs him that he'sbeing recalled back to Germany, Tang makes a pact with the devil byinforming the Japanese commanders that there might be Chinese soldiershiding out in the safety zone; he does this to obtain a safe conductpass in order to save his family. This admission creates the pretextfor the occupiers to violate the agreement and invade the safety zonein order to commit more atrocities. Tang soon learns that the Japanesehad no intention of honoring their side of the bargain and a Japanesesoldier ends up throwing Tang's daughter out the window. In an act ofredemption, Tang trades places with a soldier and remains behind as hiswife escapes when she leaves Nanking with John Rabe.

    Lu is unsuccessful when he attempts to throw a bone to the Japanesepeople of today by creating the unconvincing character of Kadokawa.According to Lu, he based Kadokawa's character on diaries he read ofJapanese soldiers who were in Nanking during the massacres. Althoughthere may have been a few soldiers who were repulsed by what they saw,the vast majority were more like Ida, Kadokawa's sadistic directsuperior. Lu has trouble fleshing out his Kadokawa character—he showshis sensitive side to a Japanese 'comfort girl' who he claims that oneday she'll be his wife. And later, Kadokawa shoots Miss Jiang as amercy killing and then does himself in, as he is unable to cope withhis guilt. But it's really not enough—Kadokawa is an anachronisticpresence, designed to suggest that Japanese people weren't that bad,even back then. But in 1937, the mindset of the average Japaneseperson, was decidedly quite fanatical.

    What Lu merely needed to do was put a disclaimer at the beginning ofthe film, noting that Japan transformed itself after the War and thatthe son should not pay for the iniquity of the father. Without Kadokawa(or perhaps having him as a greatly reduced presence), 'City' wouldhave been much more true to life and there would have been nomisunderstanding Lu was blaming the Japanese born after WW II, who bearno responsibility for the bloody scenes that happened so long ago.

  10. 1minutefilmreview from 1minutefilmreview.blogspot.com
    30 Mar 2012, 2:23 am

    It is said that evil can only manifest itself when we do nothing tostop it. When we simply allow for it to happen whether in our lives orin the lives of others. The Japanese soldiers who invaded Nankingjustified their horrific acts by claiming pride and duty towards theirbeloved country. Barbaric and without mercy, these troops of doomdescended upon the city like the worst nightmare ever conjured byhumans. Imagine an army of serial killers and rapists wreaking havocwithout being reined in and you'll get an idea. Kudos and hats off tothe director for having the courage to bring this shameful blemish inworld history to life. Unflinching, painful and without apologies.

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