Um Dia Quente de Verão

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 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.

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.

Edward Yang's massive four hour epic "A Brighter Summer Day" is one of the true masterpieces of the 1990s and of the "New Taiwan cinema." It's ostensibly the story of a few rival street gangs in '60s Taiwan, but the film is about a single young man's rites of passage in an era in which his country was experiencing a major upheaval. The film is so meticulous in its construction and its feeling of community (its preparation, filming and post-production took several years) that at the same time its length automatically gives it an epic quality it is a remarkably intimate film that is about as far from an epic in the traditional (Hollywood) sense as possible. There are over a hundred speaking parts in the film and it is necessary to stay focused in order to keep track of what's going on and to whom, which is a good trick to make sure your audience is always paying attention. "A Brighter Summer Day" is a very personal vision that recalls both Yang's own childhood and an actual street murder that shook the nation.

The film itself slowly builds towards this singular act of violence that, when it finally arrives, is both shocking and inevitable. "A Brighter Summer Day" keeps with the trend among the finest films to emerge from Taiwan in that it is very pared down - the cast are all nonactors and there is no non-diagetic music. It is beautifully shot, moving from the interiors of houses, schools, and cheap dance clubs to the open fields of the countryside in summertime. Alternating between violence and serenity, the film is a rhythmic and poetic evocation of a particular era. Its ironic title (in that there is no "brighter summer day" for these characters) is taken from an Elvis song that one of the kids sings at a nightclub. It is a truly exemplary modern masterpiece that got no distribution in the West but deserves to be hunted out at all costs by those who love and cherish the film art.

A Brighter Summer Day was for some time one of those titles that I was maybe vaguely aware of in my 20s but only grew to understand was considered in the Super Advanced Level of Film Buffery (or do I call it the Cineastistas? Who knows) a major landmark film, and a film that is about so much in four hours while being mostly about the lives of normal people trying to live - and uh, you know, would-be or actual teen gangs - between 1959 and 1961 in Taipei in Taiwan.

I've eeen Yi Yi and loved it, so this didn't seem like much of a stretch to take in next. Finally watching it, Id say it is... Good. Really good. There are times it's splendid and even mesmerizing in how Yang elevates the everyday and understated into something close to poetry. And the final twenty to thirty minutes, when it's leading up to and that big incident occurs, it almost feels as though it *should* be greater than it is.

Here's why I think I find myself somewhat at a remove from it, at least on a first go-around: Yang shoots much of this, or at least 40% or so of it, at a remove with characters often far away in the shots or at the least Id wager with long lenses, and while he does also in that other 60% go in tighter on people (for example that interrogation with the Father in the second half), he also is a fan of shrouding characters in darkness in certain major set pieces (ie the gangfights/brawls, one of which with a particularly important weapon), and sometimes that point does work to be evocative of this mysterious connection or lack thereof between teens of opposite sexes (there's a lovely scene of a conversation where the boy and girl are in silhouette and she is walking back and forth on a beam, and it's as though her voice is coming from everywhere). He shoots plainly, simply, often in long takes, sometimes deliberately with a character talking to another off screen.

In other words, this movie is entertaining... But it's also, for lack of a better word, work. This isn't to take away from anyone who immediately connects to this dedicatedly stripped down approach to storytelling. And this approach pays off in particular in the second half (you know, two hours of this four hour epic) as the lives of this family and this boy Si'r are becoming more ensconced in drama they can or cannot control, and when deep wells of emotion do bubble up and roil over.

And most of all what makes much of this so different and (in a good way) unique among epic films of this length and scope is that the main character isnt, until near the end, some dark or brooding character, but a good person who is trying to figure out who he is in relation to the world, that being among these teen roughs like Ma and Honey (the latter being maybe the most memorable character in the film), and he is going through a slow but sure coming of age in this city, and looking back (more intellectually than emotionally) I admire how Yang ties Si'r and his feelings of uncertainty and reticence and trying to be one thing and falling into the demise of his own self into Taiwan at the time itself. It's more when I read other reviews that bring this up, that the film on the whole is like a giant metaphor for the death of a nation in the shade of another one (all being exiles and immigrants from China due to... All what happened there and all), and this eventual crime being so inexplicable and yet maybe it could have or should have been seen coming?

I think that it isn't fair to call some of this dull, I know that. But there is a fine line to walk when having understated and naturalistic dramatic scene after understated and naturalistic dramatic scene, and it being *this* long. If it were even two and a half hours it might be in my estimation astonishing. On the other hand, I also have to admit taking the scissors to the movie as is would take some of the heart out of it (for example, the stuff with the Mom who has Asthma, does that need to be there? It does matter as part of the dramatic fabric of the family, so maybe?)

In a film like this, dramatic or just memorable set pieces really do help to break up the flow of things, and Yang is absolutely not a filmmaker all about that; he does get to them, at least by the time we get to concert scenes and those gang fights, but they aren't his primary focus. At the same time, there just.... Wasn't the level of pathos that clicked for me with the dynamics of these characters.

I fully admit that this could change one day if I have another full day to kick my feet up and dig in to this massive but subtle full course meal of cinema. I also always say I prefer a (in his/her element) filmmaker to do more than less. Do I even feel guilty about giving it four stars? I definitely found much to be taken with here, and Chen's performance is kind of incredible as a kid who is more like a lot of us watching: unsure, decent, and, if put into the wrong path, capable of doing bad things. It works as an empathetic story. It's just.... So much of it?