from the continuing SSU Library Film Series-

"It is the luckiest day of the year."

Taiwanese director Edward Yang brings us a film that starts from "the luckiest day of the year." The current circumstances are that Nj Jian, his wife Min-Min, their two children Yang-Yang and Ting-Ting, are gathered with Min-Min's grandmother, for the wedding of A-Di, Nj's brother. A-Di is a very superstitious person, so much so that he put off the wedding, despite a pregnant bride, until what the almanac called the "luckiest day."

Things quickly turn.

The wedding is interrupted by an ex-lover of A-Di's, an ex-love of Nj's gone from his life for thirty years comes back, and the grandmother suffers a stroke. It is quickly tomorrow.

Edward Yang has seven films to his directing credit and definitely shows the skill of an old veteran. He employs no crafty camera work, no seven minute tracking shots, or special editing techniques, but just shows us the pictures in a somewhat simplistic way and succeeds more so because of it.

Yang seems to make all the right choices. The film takes place in the comatose grandmother's room often, but only once do we really get a brief, and thus more effective, look at her ailing body. This choice to focus is gracious, poignant, and determining.

If I knew more about what colors in films represent I might be able to describe another technique used by Yang and his cinematographer, Chen Bowen, better. But alas, I can not. What I did see though was a constant theme of blues and reds frequently appearing as emotive as the actors on the screen.

The actors themselves scored very well. Nien-Ju Wu as Nj and Jonathan Chang as the mischievously curious Yang-Yang highlight a great ensemble cast. While the unfamilar relies on subtitles for cues as to what is being said, what is happening is made quite clear by the realistic conveyance of emotions from each of the actors.

The most amazing thing though that this film was capable of doing was to present a family drama that feels real. Too often the actions and reactions in films such as Yi Yi seem to be fabrications, melodramatic, or completely unlikely. A drama at its best should be able to connect to the viewer in a sense that they know it to be something real. Having gone through a situation similar to the characters and trying to conjure thoughts and the proper state of mind while addressing a loved one in a coma, I know those feelings and have felt those faces myself. This is fiction at its best: a reflection of reality.

Yi Yi is a special film. It is spoken in mostly Mandarin and portrays life in a universal way. We do not know the choices we make to be right or wrong, because, as Yang-Yang describes, we can only see what is in front of us, not behind. We only "half of the truth." Edward Yang has given us a fully realized depiction of life: frail, fierce, unpredictable, and true.

Midway through the film, father and son are getting in the car out to face the day. Yang-Yang turns to his dad: " Daddy, I can't see what you see. You can't see what I see. How can I know what you see?"

Nj replies, "That's why we have a camera."

translated means "a one and a two."

my take was that it related to the start of a song, "a one and a two . . ."

music seems to play a part in a couple notable scenes-the karoake bar and the concert. also, a character says "music makes me believe life is beautiful."

so the start fo something beautiful is "a one and a two."

its just the simplest character in the alphabet, its just 2 vertical lines, reflecting the simplicity of the film. But of course its whatever the spectator makes of it in the end.

>its just the simplest character in the alphabet, its just 2
>vertical lines, reflecting the simplicity of the film. But
>of course its whatever the spectator makes of it in the end.

what is "yi yi" a letter in mandarin?

you like the film? i want people's takes . . .

>what is "yi yi" a letter in mandarin?
>

it looks something like this

-
-

Yang said it's the first phrase on the first page of every dictionary and that it means "individually" in Chinese since the film is about individuals and their interaction with one another.

Im not sure if i think its one of the most brilliant films ever made but its very touching.

RB - I'll bite - it's a quiet film about the machinations of a family and the nuclear relationships that bind them... As well as a commentary on integrity versus the gain of capital...

And it's a personal fave as it is for Mynoriti (from my impressions) - KF gives it a thumbs up so it's all good in his corner...

The DVD edition to get from what I gather is the Korean Starmax edition... That being said, I've only seen in the theater so I can't vouch 1sthand...

yang-yang takes pictures of people from behind, so he can help them see what they can't themselves. the choices we make, the choices the characters make, our based on half-truths, what we see being half of what there is.

every character makes a choice. i know "no shit, it's a movie, dumbass." but every choice is one which so clearly and especially could have used the assitance of a look all around.

>yang-yang takes pictures of people from behind, so he can
>help them see what they can't themselves. the choices we
>make, the choices the characters make, our based on
>half-truths, what we see being half of what there is.
>every character makes a choice. i know "no shit, it's a
>movie, dumbass." but every choice is one which so clearly
>and especially could have used the assitance of a look all
>around.

This is clearly evident - but the decision b/w choices the father makes is critical in the opining of integrity...

And that the choices one makes do have repercussions no matter how insignificant they may seem at the time, like taking out the garbage, right?

>As
>well as a commentary on integrity versus the gain of
>capital...

The first thing I look for in a movie! lol. (It really is).

But seriously. . . the story arc of NJ is the most interesting thing to me. His unhappiness in the corporate world. Really, he's the new version of the corporate "everyman". . . but played very differently from the ones Jack Lemmon used to do.

And so, NJ turns to the past--the time when he was most happy--to try to fix that and return to that kind of joy, but as we see that doesn't really work out either. So the movie leaves us with the question ALL movies should leave us with: what now?

I like movies that shift the responsibility for change onto the audience.

Sometimes (and I'm no longer talking about Yi Yi really) an unhappy ending can be very effective. If a film shows us something real, and then shows us an end that is JUST as real (and not a cheat/cheap happy ending) then I believe it can influence us in the "real world" to do something about our own problems.

That's why, for instance, I consider the ending of The Bicycle Thief to be one of the best ever.

It's the power of cinema!

>That's why, for instance, I consider the ending of The
>Bicycle Thief to be one of the best ever.
>
>It's the power of cinema!

"The Bicycle Thief" and any Italian neo-realist film exhibits the power of cinema. If Hollywood execs are concerned about budgets and spending as little as possible, "The Bicycle Thief" shows how far simplicity can go....aw, just finished my REM stage of sleep...I was just dreaming.

Seriously, it is an example of the potential and power of cinema.
----

I see it as a microcosm of life.

Off the top of my head, this is a film where the dialogue/ideas is soooo on point.

The whole spin of talking to grandma and how it's like praying...when you don't know the other person is listening or you don't know if the person means it...is just so on-point.

And as already posted, "music makes life beautiful."

The family dynamics is (I don't care if I sound redundant) on point. The silence and the space each family member gives and has is real. Usually in films, the family is romanticized with dialogue up the ying-yang. No matter how close I am to my family, there are many times where nothing is said.

The "cause and effect" aspect of the film got me. Especially NJ and his first girlfriend. It actually challenged my personal beliefs...specifically, the time when NJ told his ex that (something like): If I made a different choice, life would've been different, but in the end it's all the same.

I do feel personally that there's points in life that you'll get to no matter what path you took to get there, but I don't see it as not making a difference as how NJ put it.

NJ's dismay at his ex and people telling him what to be (as far as his career) and his sense of "being his own man" is further reinforced with his conflict of integrity in the business world (as Ellipsis stated)...his sense of principles.

It captures life so well...the large and small details.
----

>The "cause and effect" aspect of the film got me.
>Especially NJ and his first girlfriend. It actually
>challenged my personal beliefs...specifically, the time when
>NJ told his ex that (something like): If I made a different
>choice, life would've been different, but in the end it's
>all the same.
>
>I do feel personally that there's points in life that you'll
>get to no matter what path you took to get there, but I
>don't see it as not making a difference as how NJ put it.

In the answering maching message that NJ leaves Sherry earlier in the film he states that upon reflecting on his reasons for leaving, they all seem silly, however when he actually meets up with her his reasons become more clear to him (and us). Sherry and her family were pushing him into a career that he didn't want. He resented it and left. Eventually life (whether it be his current wife, his family situation, or society in general) has pushed him into a career he doesn't necessarily like and he still is left with a feeling of emptiness.

As for the love aspect of it, I think it has to do with fantasy versus reality. Who doesn't have the image of the ideal significant other? NJ has spent 30 years romanticizing his memories of Sherry. There's no doubt he loved her (and still does) but I think he realizes she wasn't as perfect as he liked to remember her and that he probably wouldn't be much happier with her than he is with his current wife

Anyway that's my pessimsitic take on it lol.

>As for the love aspect of it, I think it has to do with
>fantasy versus reality. Who doesn't have the image of the
>ideal significant other? NJ has spent 30 years
>romanticizing his memories of Sherry. There's no doubt he
>loved her (and still does) but I think he realizes she
>wasn't as perfect as he liked to remember her and that he
>probably wouldn't be much happier with her than he is with
>his current wife

spoiler


nj confesses at the elevator that sherry is the "only woman" he has ever loved. she says nothing and lets the doors close.

in another scene as ting-ting and "fatty" are in the hotel room and first the lights won't come on and then they're standing around all awkwardly and finally he just walks out almost saying nothing. that was perfect.

those two scenes do much with minimalist dialogue. the characters as per in reality would have very little to stay, given their shock and anxiety in the given station. it wouldn't be a time for long drawn out diatribes about "the perils of love and past mistakes." you would simply let the elevator doors close.

>Off the top of my head, this is a film where the
>dialogue/ideas is soooo on point.
>
>The whole spin of talking to grandma and how it's like
>praying...when you don't know the other person is listening
>or you don't know if the person means it...is just so
>on-point.

like i said in my first post, i kinda know what that whole scene is like, and in reality you're talking to someone who in the past you might have practiced discretion with, but now in their current state the conversation becomes almost a confessional. anything that's on the mind is fair game.

there's a shot i believe of nj speaking and he actually clasps his hands as in prayer.

the way those scenes were handled solidified the movie for me.

I'm in love with this movie.

Random thoughts...

Like ricky already said it's definitely a film about the choices we make and as Ellipsis alluded to, even the most seemingly insignifcant choice can have a tremendous impact on many peoples lives.

Ting Ting forgets to take out the garbage so her grandmother decides to do it for her and we see the results. The family (as well as the viewer) are left to speculate whether she merely collapsed, tripped over something or was even hit by a car. We'll never know what happened and with good reason. If the family doesn't know how it happened then why should we?

Ah Di like so many others equates happiness with money. Even when he's talking to his mother, he's not talking about his wife or unborn child. He's discussing his financial success. As for his near death experience, It is never actually revealed to us if it was a suicide attempt or if it was just absentmindedness.

NJ is a great character. He's a good man who has achieved everything a man is "supposed" to achieve yet he's empty inside. Like many of us he clings to the time when he feels he was happiest. When he finally gets an opportunity to visit his past, it is revealed to us why he made the choices he made. Somehow when we reminisce about a lost love, we tend to block out the bad. I have a feeling NJ had been doing it for 30 years. We also have no idea whether or not he will commit infidelity because he doesn't know either.

As Friday mentioned before, this film has a very voyeuristic approach. I also love the framing and use of reflections in this film. The contrast between the chaotic atmosphere in the reflections and the quiet conversations between the characters. I liked how when NJ and his associates were having a meeting and we see birds flying around outside. Funny thing is that it's not really a "stylish" film yet it has so much style (if that makes sense). There doesn't seem to be any trickery or the usual audience manipulation. I think most American directors would have overplayed their hand with the whole NJ and Sherry romance. Yang played it perfectly.

Ota himself is a very interesting character who had an interesting refreshing outlook on life yet thankfully they don't just throw him in the film as a "Forrest Gump phillosopher" who changes everyones lives with his brilliant phrases and insight.

Same could be said for Yang Yang. He has some brilliant lines but they don't overdo it. Sure the kid is cute but he's actually more interesting than he is cute. We're always thinking "what the hell is he doing now?"

The family dynamic in this film is very interesting. One thing I also noticed is that they really don't spend much time together. One comes home, one leaves etc.. The only times we really see even the immediate family together at once is at the wedding and the funeral.

I like the scene where Ting Ting is coming home and we see the teacher rushing out of the neighbors apartment (the 2nd time). We are automatically made to assume the teacher is there for the mother. As Ting Ting leaves, we see the mother actually just getting home from work. Just enough there to make us say "wait a second..."

And what was the deal with the grade school teacher and the little girl? Yang Yangs friends told him something like "her old man's gonna be jealous". Then in the water baloon scene we see the teacher walk up to her and tell her how "nice she looks today". Doesn't seem to be anything going on but he's definitely a perv.

Yeah I know I'm rambling but I'm still leaving so much out. I feel like just about every scene in this film is discussion worthy.

I'm gonna try and check out the commentary this weekend. If I do I'll post on it.

This movie is like a peek into 2 weeks of someones live's. It's a beautiful film and it's quickly climbing to the top of my list.

Sponge summed this movie up in his first and last sentence really.

That's all for now

Peace

>NJ is a great character. He's a good man who has achieved
>everything a man is "supposed" to achieve yet he's empty
>inside. Like many of us he clings to the time when he feels
>he was happiest. When he finally gets an opportunity to
>visit his past, it is revealed to us why he made the choices
>he made. Somehow when we reminisce about a lost love, we
>tend to block out the bad. I have a feeling NJ had been
>doing it for 30 years. We also have no idea whether or not
>he will commit infidelity because he doesn't know either.

This is revisionism at its most common - and it's not strictly just in retrospect - you know the girl you have a crush on? The one who's perfect? The one who embodies all the ideals that you've been looking for in a woman? Yeah, well... She doesn't and has a multitude of flaws... You've put her on a pedestal and selectively filtered out the bad and placed her into a plane of existence in which the reality of the person can't meet the lofty expectations/designs that infatuation has incurred... And the letdown in the rearview mirror leaves you kicking yourself over it b/c ultimately it's not the other party's fault, but yours for viewin' through rose-colored glasses... And the loss of appetite you suffer from is entirely of your own manifestation... As producer Edward Zwick once said of "My So-Called...," he loves his friends and family B/C of their flaws/deficiencies/annoying characteristics and not despite them - no one's ABSOLUTELY perfect...

>This movie is like a peek into 2 weeks of someones live's.
>It's a beautiful film and it's quickly climbing to the top
>of my list.
>Sponge summed this movie up in his first and last sentence
>really.

Lookin' forward to October when some of you folks are able to view Ozu's "Tokyo Story" when Criterion releases it although I'd champion "Late Spring" equally as much - just got my grubby hands on the Hong Kong International Film Festival book on Ozu's centenary (for which they staged a complete retrospective)...

>This is revisionism at its most common - and it's not
>strictly just in retrospect - you know the girl you have a
>crush on? The one who's perfect? The one who embodies all
>the ideals that you've been looking for in a woman? Yeah,
>well... She doesn't and has a multitude of flaws... You've
>put her on a pedestal and selectively filtered out the bad
>and placed her into a plane of existence in which the
>reality of the person can't meet the lofty
>expectations/designs that infatuation has incurred... And
>the letdown in the rearview mirror leaves you kicking
>yourself over it b/c ultimately it's not the other party's
>fault, but yours for viewin' through rose-colored glasses...
> And the loss of appetite you suffer from is entirely of
>your own manifestation... As producer Edward Zwick once
>said of "My So-Called...," he loves his friends and family
>B/C of their flaws/deficiencies/annoying characteristics and
>not despite them - no one's ABSOLUTELY perfect...

On the flipside of this, the last woman that I found that I felt was "perfect" had me so screwed up that I gave up before *she* could start discovering *my* flaws. This was quite some time ago and she's long gone but I have to say that I haven't found anyone even remotely close to her (or the image of her I've embellished in my head). Normally I am very picky though. I've ended relationships for the dumbest reasons you can think of but in retrospect I don't have many regrets about doing so (other than maybe the way I went ending things). With the last one I was seeing, I decided not to be so damm picky (even though I knew deep down it wouldn't work out) and she wound up dumping me lol.

>Lookin' forward to October when some of you folks are able
>to view Ozu's "Tokyo Story" when Criterion releases it
>although I'd champion "Late Spring" equally as much - just
>got my grubby hands on the Hong Kong International Film
>Festival book on Ozu's centenary (for which they staged a
>complete retrospective)...

I was actually looking for Tokyo Story last week when the video store didn't have the Apu Trilogy. Unfortunately they didn't have that one either. Still the only Ozu I've seen is Good Morning.

>On the flipside of this, the last woman that I found that I
>felt was "perfect" had me so screwed up that I gave up
>before *she* could start discovering *my* flaws. This was
>quite some time ago and she's long gone but I have to say
>that I haven't found anyone even remotely close to her (or
>the image of her I've embellished in my head). Normally I
>am very picky though. I've ended relationships for the
>dumbest reasons you can think of but in retrospect I don't
>have many regrets about doing so (other than maybe the way I
>went ending things). With the last one I was seeing, I
>decided not to be so damm picky (even though I knew deep
>down it wouldn't work out) and she wound up dumping me lol.

But you know what? The image you've built up of this 1 female is likely above and beyond the reality of the situation; also, although people claim your teens are the hardest years, I found my 20s to be the decade of self-definition, enabling greater self-assurance... This doesn't always happen though - I saw a girl I knew from college some 3 years later @ a party when I was back in DC - instead of the independent, compassionate person I was familiar w/, she was SO servile and fawning that sh*t was depressing - no want of anythin' other than bein' hedonistic... Hope she's outgrown that phase of her life...

Methinks that the aphorism of letting sleeping dogs lie has some merit to it, especially in these instances...

>I was actually looking for Tokyo Story last week when the
>video store didn't have the Apu Trilogy. Unfortunately they
>didn't have that one either. Still the only Ozu I've seen
>is Good Morning.

And "Good Morning" really isn't indicative of Ozu's aesthetic... There looks to be a load of Ozu material due later in 2004 as well so other than "Tokyo Story" and "Floating Weeds," it should prove interesting to see a whole new audience open up to his portfolio...

Also, there's an article in this Sunday's NY Times Magazine about Sofia Coppola - the writer is a little too much of a fan, but it's an interesting read although I'm not ready to attend her coronation as a burgeoning major talent as the article would have you believe...

...

i'm hearing so much about this movie that i need to check it out ASAP.

Not sure if I'd recommend listening to the commentary for most. I guess it depends on what you look for in a directors commentary. If your looking for more insight into the narrative and what Yang was trying to convey with certain scenes, than you wont get a great deal of info from this one (though he does open up a bit more towards the latter part of the film). I'm guessing that for the most part Yang likes to let the film speak for itself (which when thinking about it is a good thing)

This commentary mainly deals with some technichal info, acting techniques, information on the cast, and tidbits about Chinese culture. It's not bad but at all but it's not the greatest commentary I've ever heard either

Couple little things he touched on:

Yang talks about the use of reflections in this film. This wasn't something that was planned from the begining but after using them in a few scenes, Yang learned how much you could add so much to a single shot with a reflection. You could do close ups on characters yet you can see their surroundings as well. I can't think of a single film that has ever utilized reflections so well.

There is one reflection inparticular that was purely coincidental but created a really cool shot that I hadn't noticed. There's a scene where Min Min (NJ's wife) is talking to her co-worker and it's evening time. We see the reflection of the city as they speak. There's a stop light that's flashing red in the middle of the screen. The red flash just happens to be in the same place as Min Min's heart.

In the first shots we see of Tokyo, the camera pans by all the office buildings. We get the feeling that it's pretty late at night yet almost every light is on in each one of these buildings. Yang said this reflected his first experience in Japan 20 years ago, and how the Japanese "Salary men" were always working and seemingly always in their offices all night. He wanted to include this since it was his own first impression of Japan.

He touches on the reliance of many Chinese people on the "supernatural" or superstition shown in how Ah-Di is afraid to name his child because he was born on an "unlucky day" so they had to give him a "lucky name". This shows Ah-Di's lack of confidence in himself.

He also touches on the Tech industry since Yang spent a portion of his life in Seattle working in the Tech field. Like the scene where we are watching the ultrasound. At first we think the woman speaking is talking about the child then we come to find that she's actually talking about technology. And how technology and humanity have not yet combined. We cant get past developing fighting and killing games.

He also talks about why some scenes were shot they way they were. The scene in the park (on the stairs) where NJ is telling Sherry why he left we see it from a bystander's perspective rather than close up. Too many directors are afraid to do this. They feel we have to see every facial expression and hear everything in order to get an idea of what is really happening. In this case we don't need to, their body language tells us everything. When NJ and Sherry are walking away we see them from about 20 feet away. We see that their body language is relaxed and comfortable. We get a much better experience from seeing them from far away as opposed to having a camera dolly roll right in front of them.

He also talks about when to use silence as a more effective technique of conveying emotion than dialogue. Like the scene ricky mentioned earlier where Ting Ting is in the Hotel room with Fatty.

He talks about certain things we do when we are younger that aren't exactly "smart" or even downright life threatening without giveing a second thougth to the danger involved. Such as when Yang Yang jumps in that pool with no one around. How many of us can look back at something we've done that could have easily gotten us killed. Thinking about it I'm surprised I'm still around.

Ting Ting's character was 15 but the actual actress wasn't even 13 when they began shooting.

The Yang Yang character was originally supposed to be 10. The young actor went up against a bunch of 10 year olds and wound up getting the part. He learned the material quickly and so well that after a few days he started telling everyone else what to do lol.

Yang was also an acting teacher and many of his students were in the film

The actor that played Ota is a comedian in Japan. Apparently it's almost impossible in Japan to make the transition from comedian to film actor.

Thats all for now

this is a mega-informative post. And Edward Yang did a commentary himself? Didn't know that. Saw the movie on TV, as you know.

>
>Yang talks about the use of reflections in this film. You
>could do close ups on characters yet you can see their
>surroundings as well.

It's a great effect. And in using the reflections to superimpose the city on top of the character, I think it helps to make the point of society's deep influence even on your most personal relationship moments. The two are connected, and here we see them, literally, as one.

>
>There is one reflection inparticular that was purely
>coincidental but created a really cool shot that I hadn't
>noticed. There's a scene where Min Min (NJ's wife) is
>talking to her co-worker and it's evening time. We see the
>reflection of the city as they speak. There's a stop light
>that's flashing red in the middle of the screen. The red
>flash just happens to be in the same place as Min Min's
>heart.

That's awesome. Kind of makes you feel creepy too, like when you used to watch Unsolved Mysteries and Robert Stack would look so frightening sometimes.

>He also talks about why some scenes were shot they way they
>were. The scene in the park (on the stairs) where NJ is
>telling Sherry why he left we see it from a bystander's
>perspective rather than close up. Too many directors are
>afraid to do this. They feel we have to see every facial
>expression and hear everything in order to get an idea of
>what is really happening. In this case we don't need to,
>their body language tells us everything. When NJ and Sherry
>are walking away we see them from about 20 feet away. We
>see that their body language is relaxed and comfortable. We
>get a much better experience from seeing them from far away
>as opposed to having a camera dolly roll right in front of
>them.

I told you! Didn't I tell you? This is good shit. Edward Yang is the man!

And Edward Yang did a
>commentary himself? Didn't know that. Saw the movie on TV,
>as you know.

Yeah Yang does the commentary track. He actually comes off almost nervous at first. Alot of stuttering and "uhhh ummmm"s. I don't know maybe that's the way he talks. It gets a little better as time passes (or maybe I just got used to it). He says it's the first commentary track he's ever done.

>It's a great effect. And in using the reflections to
>superimpose the city on top of the character, I think it
>helps to make the point of society's deep influence even on
>your most personal relationship moments. The two are
>connected, and here we see them, literally, as one.

Yeah I love it. I agree, the surroundings seem to be a huge part of everything. The scenes in NJ's bedroom are as if you're spying on them with a telescope from a high rise a block away. It's a strange feeling seeing a quiet family bedroom scene with a reflection of all the freeway traffic.

Do you know of any other films or directors that have used this technique to such an extent?

>>There is one reflection inparticular that was purely
>>coincidental but created a really cool shot that I hadn't
>>noticed. There's a scene where Min Min (NJ's wife) is
>>talking to her co-worker and it's evening time. We see the
>>reflection of the city as they speak. There's a stop light
>>that's flashing red in the middle of the screen. The red
>>flash just happens to be in the same place as Min Min's
>>heart.
>
>That's awesome. Kind of makes you feel creepy too, like
>when you used to watch Unsolved Mysteries and Robert Stack
>would look so frightening sometimes.

Yeah it freaked me out when he first pointed it out. How do you achieve something like that by accident? Pretty crazy

>I told you! Didn't I tell you? This is good shit. Edward
>Yang is the man!

Yeah I'm convinced he IS the man, which reminds me...

>He talks about certain things we do when we are younger that
>aren't exactly "smart" or even downright life threatening
>without giveing a second thougth to the danger involved.
>Such as when Yang Yang jumps in that pool with no one
>around. How many of us can look back at something we've
>done that could have easily gotten us killed. Thinking
>about it I'm surprised I'm still around.

That was one of the most memorable moments in the movie for me. When Yang Yang jumped into the pool, and it cuts to another scene, the whole damn theatre went tense. Then when he happily walked in the door a few minutes later, everyone let out their breath :)

I only saw this movie once, two years ago, and still love it to death. The section where NJ goes to Japan especially is embedded in my brain. I'd kill to see this again - does anyone know if there's a PAL version of the DVD for sale anywhere? The only copies I've found are all NTSC.

Francis.

*HIP HOP WISDOM!*

"I could never get lonely because I love me. I think I'm dope, personally. I don't think there's nobody fresher than me. I am my fan. I'm on my own dick"
-KRS ONE

"The only thing that is makin' it really difficult for rap music right now is the fact that you can make a video and have a bullshit song come across as good. If there wasn't videos and video shows, there would be a lot of out-of-work muthafuckers, and maybe me too"
-LL Cool J

"Theres no such thing as rap music. Rap is a rhyming lyrical form over any kind of music. So long as theres different types of music, rap will always be around. Besides, there will always be people that can't sing"
-Will Smith, back when he was the Fresh Prince

>That was one of the most memorable moments in the movie for
>me. When Yang Yang jumped into the pool, and it cuts to
>another scene, the whole damn theatre went tense. Then when
>he happily walked in the door a few minutes later, everyone
>let out their breath :)

Cosign! I saw it for the first time about 4 months ago and I remember my heart just dropping. The way they cut to another scene then show him coming home is just perfect. (and a relief!)

They also do it to us with the Ah-Di bathroom scene. I mean who *didn't* assume that Ah-Di was dead? But yeah the pool scene was the scariest.

>I only saw this movie once, two years ago, and still love it
>to death. The section where NJ goes to Japan especially is
>embedded in my brain. I'd kill to see this again - does
>anyone know if there's a PAL version of the DVD for sale
>anywhere? The only copies I've found are all NTSC.

School me. What is PAL and NTSC? What's the difference? (and what do the acronyms stand for?)

>School me. What is PAL and NTSC? What's the difference?
>(and what do the acronyms stand for?)

2 primary standards for television design -

N(ational) T(elevision) S(ystems) C(ommittee) - the color video standard used in the U.S., America, Canada, Mexico, and Japan - any DVD that is ALL REGION NTSC will play in players designated for these countries...

P(hase) A(lternating) L(ine) - the standard used for Europe, Hong Kong, and the Middle East - so if you reside in an NTSC country, you will need a player that has PAL -> NTSC conversion (the reverse situation holds true for those in PAL nations)...

So even if you have an NTSC player and are able to make it all-region, you will require a converter for the television, enabling PAL movies to play... That's why it's easier to get an all-region player w/ an internal converter...

>This commentary mainly deals with some technichal info,
>acting techniques, information on the cast, and tidbits
>about Chinese culture. It's not bad but at all but it's not
>the greatest commentary I've ever heard either

I actually prefer this type of commentary. I kinda sort of want to leave the story open for infinite possibilites on my part, so I'm more interested in learning "how."

>Yang said this reflected his first
>experience in Japan 20 years ago, and how the Japanese
>"Salary men" were always working and seemingly always in
>their offices all night. He wanted to include this since it
>was his own first impression of Japan.

The Japanese actually have a term for suddenly dying as a result of overworking. It's "karoshi." More than 2,300 individuals die every year from working more than 3,000 hours the previous year. Yang is soooo on-point, lol.

>He touches on the reliance of many Chinese people on the
>"supernatural" or superstition shown in how Ah-Di is afraid
>to name his child because he was born on an "unlucky day" so
>they had to give him a "lucky name". This shows Ah-Di's
>lack of confidence in himself.

Alot of Asian cultures do so. Well, I won't generalize, but from the people I've been around, it seems so. So, I just speak from my experience.

"Silence." Effective in dialogue and music.

*cough* Ellipsis? *cough*

I know you gave me some titles before but I have no idea where I wrote them down (for all I know there are a few in my evergrowing Netflix queue). I know you mentioned that you felt this was his best film but if you can enlighten us with some recommendations it would be greatly appreciated (as always)

>*cough* Ellipsis? *cough*
>I know you gave me some titles before but I have no idea
>where I wrote them down (for all I know there are a few in
>my evergrowing Netflix queue). I know you mentioned that
>you felt this was his best film but if you can enlighten us
>with some recommendations it would be greatly appreciated
>(as always)

"Taipei Story" (1985)
"A Brighter Summer Day" (1991)
"Mahjong" (1996)

"In Our Time" (1982) comprises 1 part of 4 - there's a DVD of this floating around from Taiwan (legit, but w/ burnt-in subtitles)...

just because

how sweet

thanks for getting me another archived post

n/m

killed this shit.

complete dissection of the film and dvd.

yi yi isn't mentioned in archives i think. it should be. and me and johnbook are like that.

i might have just put myself on the cover of sports illustrated though with this post

better inbox jonbook if you want it archived. Posts fall of all the time, the world's an imperfect place.