MAKSQUIBS CINEMATHEQUE: FLEEING BY NIGHT (2000)

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Like just about everyone with an interest in the movies, I'm watching more films on DVD and going out to movie houses a lot less. Convenience trumps the better experience.
Of course, you lose audience interaction and the poor film now has to compete with all the comforts of home.
It's a bit like seeing Rembrandts & Titians in a book reproduction, or from posters with iffy color values, no texture or weight to the surface and the wrong dimensions . . . all while snacking on chips & soda. (Oops! You get that at your local cinema,too.)
The ease of instant movie gratification risks turning an art form (well, sometimes) into little more than low-grade eye-candy & mindfodder. So, maybe it's worthwhile to write a bit down on what we're all viewing, just to keep fully engaged.

DVDs: the latest opiate of the people meets the internet, where everyone's a critic.
God help us.

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Monday, May 19, 2008

FLEEING BY NIGHT (2000)

Told in flashback by a lonely old Chinese/American in NYC, the first half of this film is an atmospheric and touching account of his young manhood (late 1930s) when he returned to China after studying music & banking in the States. He & his putative bride (quite the feisty modern girl) find themselves in a hopeless romantic attachment to a ‘Kun Opera’ performer and, for a bit, this plays like an Asian DESIGN FOR LIVING between two men and their gal pal. But filmmakers Li-Kong Hsu & Chi Yin don’t trust the story’s natural contours & suddenly we’ve got child molestation, murder, WWII, & exile from home & country. Still, the first half is bewitchingly handled with superb design well caught by elegant directorial technique and a pitch-perfect cast, with Chao-Te Yin a standout as the opera star in a debut perf of restraint, stillness, beauty & kinetic combustibility that wouldn’t have shamed Buster Keaton.

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A last thought before we go.

Well, enough from me. But before we sign off, here's a great quote from Emile Zola's L'OEUVRE (THE MASTERPIECE), which is about painting rather than the yet to be invented medium of film, but which points a fine critical eye toward the whole idea of art criticism. It's a good, if chilly, thought to keep in mind, especially when you surf the net.

"Has it ever struck you that posterity may not be the fair, impartial judge we like to think it is?

"Suppose the artist's paradise turned out to be as nonexistent as the Catholics, and future generations prove just as misguided as the present one and persisted in liking pretty pretty dabbling better than honest to goodness painting. There are some accepted masterpieces for which I myself wouldn't give a twopenny damn.

"Classical training has given us a wrong view of everything and forces us to acclaim as geniuses a lot of fellows who are no more than well-balanced, facile painters, while what we might really prefer is the work of more emancipated but less even artists known only to an initiated few. Immortality at present depends entirely on the average, middle-class mind and is reserved only for the names that have been most forcibly impressed upon us while we were still unable to defend ourselves...

"Perhaps that's the sort of thing that's best left unsaid. It's certainly the sort of thing that gives me the shudders!"- Emile Zola

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Monday, May 19, 2008

FLEEING BY NIGHT (2000)

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A last thought before we go.

DROP ME A LINE