Devils on the Doorstep

"guizi lai le" is the most improtant chinese film since 1988 when zhang yi mou's "hong gao liang" won the golden bear in berlin. it's a great film to prove the jiang wen's thinking of the whole anti-japanese war and the real chinese,gave us a new version of chinese.

Most of mainland movies about the Second Sino-Japanese War are fairy tales. The basic tune is that, Japanese are stupid, evil, and weak, and Chinese are smart, decent, and strong. This movie is one of the very few trying to illustrate a real slice during that war.

After enjoying the excellent In the Heat of the Day, I really looked forward to watching this movie and had high expectation on it, and I certainly wasn't disappointed.

This movie is a tragi-comedy about the Japanese invasion of China, which of course is no laughing matter, but this movie is genuinely funny and never falls into the bad taste category because it shows you the brutality of war and how it affects the Chinese people (albeit from a different angle than one would expect).

The ending, which I am not going to give away, is excellent and I think it is the most courageous war movie ending I have ever seen. However, one thing about Jiang Wen's movies is that they are so technically interesting that it is difficult to see what his movie is about as a whole.

Anyway, I highly recommend this film.

Do I feel late to the party on this one - how could I overlook this for the last 4 years? I was floored.

Watching "Devils on the Doorstep" reminded me of the first time I watched "seven samurai". Barring obvious comparisons such as being shot in black & white, using a combination of drama and comedy, and finishing it off with a startling ending, the movie's sense of time was fluid thanks to an excellent screenplay. Although the movie is lengthy, like many gems of Asian cinema, it was anything but a chore to watch it.

The plot is deceivingly simple, come alive thanks to Jiang's poetic directorial style. His characterization is succinct, but evocative, built up from his own personal memories. His vision of war has many ties to US cinema, with delirious, often hauntingly surreal, images of people trying to reconcile their own individual nature with that of being part of a collective.

I can see why Chinese censors would take offense to the film. China is painted as the victim that it is so often stereotyped as. However, with the country's continued objections against the Japanese glossing over wartime indiscretions, it could be seen as having nationalist overtones. I don't see the film as necessarily sympathetic to the Japanese: at the end of the movie, they are still the "devils". Additionally, when the plot is extrapolated outside of the film itself, the irony is of course that Japan was defeated by a powerful external force due to their brash political maneuvering.

This film is a masterpiece. The first time I saw this film was in senior heigh's class when I was in China. And to those reviewers who know nothing about China, except the issue when the film first went public, this film is the representative work of Jiang Wen which is spoken highly by the Chinese audience. It never goes underground and now it is accessible everywhere on Chinese video website. One less thing to criticise us, what a pity.