Sunday, November 25, 2018

230. Vietnamese director Ash Mayfair’s debut feature film “The Third Wife” (2018) (Vietnam) based on her original story: Gorgeous cinematography, interesting visual allegory, female characters and actresses add value to a film that ought to make Vietnam proud!

Debut films of several directors worldwide have often been unforgettable, even when compared to their later works:  Orson Welles’ Citizen Kane, Satyajit Ray’s Pather Panchali (Song of the Little Road), Ridley Scott’s The Duellists, Steven Spielberg’s Duel, Jean-Pierre Melville’s The Silence of the Sea, Mike Nichols’ Who’s Afraid of Virginia Woolf?, Claude Chabrol’s Handsome Serge, Bertrand Tavernier’s The Watchmaker of St Paul...the list goes on.  That stamp of unmistakable awesome standards of filmmaking is apparent in Ash Mayfair’s debut feature film The Third Wife.

Within minutes of the film’s opening credits an observant viewer gets a clue of the quality of the film that follows—intelligent use of visual editing in presenting the title of the film and the aesthetic and delicate balance between silence and music on the soundtrack. The Third Wife is an original tale written by the film’s director. It is set in the 19th century Vietnam involving a rich nobleman living comfortably far away from the towns, with a retinue of servants, three wives of different ages, their progeny, and his father. The nobleman’s writ is the law in this remote household.  The film is set in a time frame in which men made the rules, when child marriages were acceptable, and when the birth of a boy was held at a premium for the parents over that of the birth of a girl.

May (Nguyen Phuong Tra My) as the 14-year old third wife

The title character of the film, May (Nguyen Phuong Tra My), is a 14-year-old child bride who has to travel by boat to reach her future husband’s abode.  She is welcomed by the entire family and household staff with pomp and feasting. The first wife Ha (Tran Nu Yen-Khe, who had earlier graced two significant Vietnamese films Cyclo and Scent of the Green Papaya) and the second wife Xuan (Mai Thu Huay Maya) welcome May with genuine warmth. The film narrates the tale economizing on spoken words but revealing much more visually by the brilliant camerawork of the lady cinematographer Chananun Chotrungroj, twice a winner of the Nestor Almendros (of Days of Heaven fame) award for cinematography. If the Spanish/Cuban maestro was alive today, he would have been delighted with the mastery of the visual elements from start to finish in The Third Wife.

The tale weaved by writer/ director Ash Mayfair, deals with the child bride’s interactions with the family members of various age groups over a period of approximately a year, learning quickly that to gain favour of her husband she has to bear a son and not a girl. Ms Mayfair’s tale is often visually edited to link her tale with the allegorical of life cycle of the silkworm—caterpillar, cocooning, fresh cocoon, cocoon with pupae, and finally a silk moth.  Why the silkworm? Evidently nobles of 19th century Vietnam saw silk as a valuable income source. And lots of silkworm pupae are killed while preparing the cocoons for making the silk threads. The tale of the film has obvious parallels between the mute silkworms and the human characters.

The pregnant third wife spends cordial time with the first and second wives

...and cordial interactions in the evening indoors.

The film has a predominantly a female production crew (writer/director, cinematographer, editor, etc.) and naturally the perspective is from a female viewpoint. Yet the feminism in the film is subtle, only making a silent but powerful statement towards the end.  Bereft of spoken words, the last ten minutes of the film is a fascinating recounting of critical past images from the film as recollected by the third wife May, who has matured over a year witnessing incest, patriarchal preferences to indulge boys over girls, the fate of children born out of wedlock among the servants, and the humiliation of a bride not accepted by her future husband.  The casting of May’s cute female child and the facial expressions of the infant captured by the film crew are highlights of the film. 

May's cute baby girl looking at her mother holding the
the yellow flowers, very significant to the tale

Though the ending of the film is ethically unacceptable, one gets a premonition that the last ten minutes of the film will be slowly accepted as one of the most powerful and sophisticated endings ever devised to end a feature film in recent years.

When director Ash Mayfair dispenses with spoken lines, she has two other tools beyond the camera. The music and wordless vocals (used for the end credits) composed by Ton That An (a Vietnamese male composer), and sound mixing (by Roman Dymny) that are ethereal. In a crucial point within the film, prior to a tragic development, the sound department introduces the sound of crows cawing though you don’t see them on screen (Russian director Andrei Zvyagintsev has employed this effectively in his 2011 film Elena). To Ms Mayfair’s credit, at no point in the film does the soundtrack seem overpowering—when you hear sound/music, it is soothing and calming to the viewer’s senses complementing the incredible camerawork.

Even interior shots are elegantly captured: a pregnant May,
 with the second wife's daughter

If there is a loser in this lovely film it would be the lack of emphases for details of realism. The film is a picture postcard view of Vietnam in the 19th Century.  Everything you see in the film is picture perfect, every detail of exteriors and interiors are dust free, polished and colourful.  The silk linen clothes hung out to dry in the sun are the whitest of white, the absence of mud and dirt on the feet of women walking in the night is unbelievable in a tropical country. So too are the absence of insects and reptiles beyond the silkworms and a single lizard on a mosquito net. Are there no snakes and other insects/ reptiles found in vegetated tropical Asian countries then and now?  Especially near bamboo groves at night?

Arrival of the third wife, May, by boat, to her husband's house

Ms Mayfair has thanked American director Spike Lee (of The BlackKkKlansman fame) among many others in the film's closing credits for the Spike Lee Fellowship she won as a student of New York University which enabled the development of the film.  Ash Mayfair has thanked the Government of Vietnam that lent a helping hand in making this high quality film in that country. The film’s highly talented cinematographer Ms Chananun Chotrungroj is also an alumnus of New York University and a recipient of the Ang Lee Fellowship. This film ought to encourage successful film directors to invest a part of their life’s earnings to develop new talents in filmmaking who otherwise would have never made a mark. Finally, Ms Mayfair choice of the actresses who played the three wives and their performances and her choice of the music composer also contributed to the incredibly well-made debut film. Even the poster of the film says a lot of the care taken to communicate the tale of the film intelligently.

The citation for the Gold Hugo for The Third Wife at the Chicago Film Festival reads:
"The Gold Hugo goes to The Third Wife. Ash Mayfair's lush, assured debut feature which follows a 14-year-old girl as she enters a wealthy household. Mayfair's unshakeable vision grants the women of this world an individuality their society rejects, treating them as creations as wondrous as the natural world that surrounds them, as the film builds to a staggering climax that devastates and thrills in equal measure."
P.S. The film has already won the Gold Hugo award at the Chicago Film Festival and the Royal Bengal Tiger Award for the best international feature film at the Kolkata International Film Festival. It won minor awards at Toronto and San Sebastian Film Festivals. The film was also part of the recent Denver Film Festival. The film is one of the best 10 films of 2018 for the author.

Thursday, November 08, 2018

229. The late Chinese director Bo Hu’s debut and final film “Da xiang xi die er zuo ” (An Elephant Sitting Still) (2018) (China): A realistic film on the lives of the marginal urban population in China, a perspective rarely presented to foreigners, based on a novel written by the director

It is not easy to sit through any feature film that is nearly 4 hours long; more so if the characters in the film are dour, unexceptional, and behave like the dregs of society. An Elephant Sitting Still would challenge the average viewer to keep on watching the principal characters whose actions are abhorrent, whose views are negative, and whose reactions are slow. What keeps the fatigued viewer to persist in watching the long film is the unusual subject revealed in the initial few minutes of the film: an elephant that is sitting still in a city in China as part of a circus but eats the food offered to it. You keep watching the film trying to figure out the connection between the host of anti-heroes in the film and the elephant—which becomes clear only in the final sequence of the film. (The film is on show at the Denver Film Festival)

Two school kids, Bu and Ling, meet at a monkey-feeding cage,
where the monkeys keep a low profile

An Elephant Sitting Still belongs to a wave of Chinese films (e.g., Jia Zhang-ke’s  A Touch of Sin) in recent years  that deals with the lopsided growth of the Chinese economy which leads to isolated violent actions by those who feel  deprived of any hope for a change in their life, however much they aspire and dream for a better deal . The temperament of the film is nihilistic to the core—wives cheat on their husbands; friends betray friends; sons value their offspring more than their parents; dogs run off from their caring human families and seek refuge with strangers; teachers/deans have sex with their students; grown-up men kill dogs that have done them no harm; touts sell fake railway tickets; when you possess valid rail tickets, the  trains get cancelled; people burn garbage in the open, close to tall, residential buildings; violent acts in schools are not reported to the police as the consequences are worse... The list goes on. It is the myth of the Sisyphus—trying to climb a mountain that you will never be able surmount.

“I don’t like anybody. The world is quite disgusting. They are afraid of you, if you kill.”--Words of a schoolboy in the film after shooting a thug and before committing suicide

Exploited school girl Ling turns violent 

It is not surprising that the director Bo Hu committed suicide soon after completing his debut film and the publishing of his novel on which the film is based. The film "reads" like a suicide note.

Bo Hu had written the original script of the film based on his own book Huge Crack  (written under his pen name Hu Qian and published in 2017, a year before the film was made) evidently noticing the myriad problems of the lower middle class in modern day China. A well-meaning bright student has to deal with bullies in school and parents who do not encourage or appreciate him at home. Most young people look at their parents for inspiration; but what can you do, when you find out that one of your parents was caught taking bribes? The late Bo Hu had studied filmmaking and this debut magnum opus seems to have been stuffed with his perceptions of things wrong in his world in the 29 years that he lived on this planet.

Dogs seek shelter with strangers like Wang (above): not expecting
strange behaviour from them

In the film An Elephant Sitting Still there are two suicides, a killing of a dog, a mortal accident caused by a push, and several killings of human beings by individuals driven to the edge of despair. The varied age groups involved in the bleak and dark narrative range from teenage school kids, to young men and women starting their lives by investing in an apartment, an elderly man being pushed into a retirement home where even retired army generals are not happy, and an elderly grandmother lying dead in her tenement because her family does not visit her.

If you are standing on a tall building’s balcony, what would come to your head?"
--Words spoken by a thug, Chen, whose best friend jumped off a tall building’s balcony
“I would think what else can I do?” --Response from a school kid Bu, who has unintentionally killed Chen's brother (who in turn was bullying him) by pushing him backwards at the top of the stairs of his school, echoing the very advice given to Chen earlier by the woman he loves

The importance of the film rests solely on Bo Hu’s intentions to discuss the social problems of China today without making it look like an overt criticism of the Government. It is clearly inferred in the film that the police is more feared rather than serving as a source of protection from evil forces. The people who kill are mostly aware that the law will ultimately catch up with them. But An Elephant Sitting Still is not a film that deals with the wages of killing; it is a film that wonders if there is a way out of this juggernaut of negative socio-political matrix for someone who wants to live a new life, turn a new page, irrespective of their physical age.  It is a film of people who wonder “what else they can do.

So who are trying to witness the strange elephant with an unusual behaviour? A retired man with his school-going granddaughter and two teenage school kids, possibly in love, with human blood on their hands make their pilgrimage to the metaphorical elephant that eats without moving. Any intelligent viewer will grasp what the pachyderm stands for.  Nietzsche would have smiled at this film, if he was alive. Perhaps so would have Soren Kierkegaard (recalling his concepts of 'levelling' when compared to the gradual leveling of the hubris of the alpha-male Cheng in An Elephant Sitting Still) and the Russian novelist Ivan Turgenev in finding a soulmate in Bo Hu. It is not the film that is important, it is what the film tries to communicate to the viewer that is important.

P.S. The film won the FIPRESCI award at the Berlin Film Festival and a special mention for a debut film at the festival. At Taiwan's Golden Horse Film Festival, the film won the Golden Horse for the Best Feature film, Best Screenplay Award, and the Audience award. The film is one of the top 20 films of 2018 for the author.