Director: Eric Valli
Distributor: Kino International
OKAY
"This film is sort of a western -- a Tibetan western -- a universal and timeless saga that tells a story of power, pride and glory... I only wanted to portray the life of these snow-country men, their weakness, their beauty, and their humanity." Director Eric Valli
Himalaya is an Eastern film with Western sensibilities. It's a classic tale (not unlike Howard Hawks' Red River) that pits the old against the young for control of the annual yak drive.
A small Tibetan village high in the Himalayas subsist on very little. Via the use of yaks they carry salt from far off salt lakes up and over steep mountain passes into the next valley where they barter them for grain that feeds them the rest of the year.
Karma (Gurgyon Kyap), the son of an enemy clan, arrives in the village with news that the son of the elder chief, Tinle, has died.Tinle - a fiery old man -- blames Karma for the death and insist that he not lead the yak drive anymore.
Karma pays no heed to Tinle's threats and instead takes off with most of the yaks and a good number of the men.
Tinle, following the religious rituals of his clan, leaves four days later with an older more inexperienced crowd - including his son, who is a buddhist monk who's been cloistered in monastary for years.
Their trek is dangerous and many times they consider turning back but Tinle is so detemined and adamant about finishing the journey and catching Karma that they all keep on.
In the films most harrowing scene Tinle leads them on a dangerous alternate route -- aptly named "Devil's Path" -- which leads to a narrow death defying cliff crossing.
Eventually, Tinle catches Karma and everything is reconciled and worked out -- Karma learns not to be so selfish and independent and Tinle swallow his pride and accepts Karma's abilities.
This is a film with a message but it's really more of a Western message than an Eastern one. Specifically it has a Judeo-Christian "I told you so" mentality that is a bit hard to swallow.
Director Valli gets good performances from the mostly non professional actors and he presents them in a natural unadorned, (some would say unflattering) light, which lends an authenticity to the film.
The film reminded me a little of the documentary The Saltmen of Tibet by Ulrike Koch a sobering chronicle that shows the daily difficulty that Tibetan nomads face in order to survive.
Beautifully shot (with a good score) Himalaya - despite a slightly sentimental surface - is an effectively heartfelt fiilm and is sure to please the mild mannered art house crowds.
Matt Langdon
Director: Zhang Yimou
Distributor: Sony Picture Classics
NAY
"I made my last two films as a reaction against the current tendecies in Chinese cinema, against the logic of the market. I wanted them to be simple, immediate and anchored in reality. I believe the public will accept them, since they address the viewer with real feeling and emotions. Chinese cinema shouldn't allow itself to be so much influenced by Hollywood." - Director Zhang Yimou
It's been said that the next generation of Chinese filmmakers look at the previous generation's films with disdain. This latest film by master filmmaker Zhang Yimou should provide all the ammunition other filmmakers need to verify thier stance and criticise his work.
The irony in the above statement by Zhang is that his latest film is the simplest, sappiest and weakest film in his ouerve. And it makes me wonder if he really believes what he is saying.
Basically, this is a film about love, death, and nostalgia. A man returns to his home to bury his recently deceised father. His mother insists that the funeral follow the age-old custom of carrying the coffin back from the hospital to the local village. He's not sure if he has the time to do this, plus he doesn't believe that he can get enough volunteers to help.
So far so good. The film has set itself up in a straigtforward manner. Then it dives off into a colorful flashback, fairly tale mush mode.
We are presented Zhao Di (Zhang Ziyi of Crouching Tiger Hidden Dragon fame) a lovely young woman who grew up in a stunningly beautiful Northern Chinese village. She lives with her blind, widowed mother in a modest home, and even though she is poor and uneducated she is recognized as the most beautiful woman in the village. Then a handsome 20 year-old schoolteacher (Zheng Hao) moves into the village. Zhao knows she must meet this man. But since he is of a higher class than she it will be difficult for them to meet; let alone marry.
But love always finds a way - especially in the movies.
Although Zhang has a great eye for framing the locale he really lays on the music score thick. And the story he tells is so predictable and sappy that only those willing to fall for such tripe will like it.
The film has no edge to it. It's a one note nostalgia piece that frankly even Hollywood could be criticised for making. There is one good scene and that involves a nomadic cobbler who comes into the village wearing his workers garp and singing a song to alert the people of the village that he can serve them. The scene evokes the feeling of a bygone era and, in many ways, doesn't feel like part of the rest of the film.
If nothing else the film is a star making vehicle for Zhang Ziyi - although it was made prior to that Crouching Tiger -- and should help get her to Hollywood.
Matt Langdon
