Yi Yi [VHS]
by Edward Yang
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Product details
Actor: Elaine Jin, Issei Ogata, Jonathan Chang, Kelly Lee, Nien-Jen WuDirector: Edward Yang
Cinematographer: Wei-han Yang
Writer: Edward Yang
Producer: Michiyo Sat?
Producer: Naoko Tsukeda
Producer: Osamu Kunota
Producer: Shin'ya Kawai
Producer: Wei-yen Yu
Edition: VHS Tape
Audio: English (Unknown); English (Original Language); Japanese (Original Language)
Format: Color, NTSC, Subtitled
Running Time: 173 minutes
Release Date: 2002-02-19
Audience Rating: NR (Not Rated)
Publisher: Fox Lorber
Studio: Fox Lorber
VHS Movie Reviews of Yi Yi [VHS]
Movie Review: Kind of like a soap opera, only not as good--
Summary: 1 Stars
I was checking out some film critics' top ten lists. Yi Yi kept showing up.
Boy, do people go into raptures over this. Check the reviews below. I had to see it for myself.
I suppose I've watched two thousand movies during my lifetime, give or take. Yi Yi, I can safely say, falls deep into my bottom ten. And that's saying something.
Honestly, I really, really wanted to like it, acclaimed as it was. After all, I drove all the way across town to find it and then put good money down (during a recession) to rent it. But, despite all the drooling by reviewers, highly placed and lowly, I ended up really, really hating it. Sorry.
I'll not rehash the plot/story--whatever you want to call the hodgepodge of episodes particular to the various characters and mashed into a three-hour (or was it ten-hour?) presentation. I just hoped to warm up to, even care about, at least a person or two among the ensemble but it never happened. I didn't give a hoot about a single one of them, and I'm not at all without empathy or sympathy. Really, I'm not.
Each member of this extended family seemed bent on pursuing his/her own selfish little agendas which are either weird storm-in-a-teacup contrivances or familiar derivations to anyone who's read much fiction or watched a lot of it. From the annoying, idiotic brother--a new father who's in extreme existential crisis for the lone reason that he can't come up with an astrologically correct name for his baby son--down to the eight-year-old cipher Yang Yang (one of the many syllabically redundant names in the movie, not that there's anything wrong with that) who is basically bullied, belittled, or ignored by pretty much everyone for three hours, and who takes numberless photographs of doorjambs, walls, and the backs of people's heads. (There is surely something symbolically profound about Yang Yang's behavior, which also includes his submerging his head into a water-filled sink, etcetera, though I don't know what it might be. Anyway, at a late point the director/writer/whoever thought it'd be clever to mislead the audience into an apparent suicide scene involving Yang Yang and a swimming pool. The "twist" wasn't really that clever at all and I didn't feel relieved or pleased or anything else when the next sequence had the kid walking through the door alive but wet. Oooo, spoiler. Sorry.)
I won't air specific gripes re the father, mother, daughter, et al, except to say that everyone herein is on the brink of his/her unique major/minor depressive episode. Even the lesser players trudge around scenes face-down in a gloomy funk of some kind or other. Yes, even the eight-year-old, who looks and behaves more like a completely disenfranchised five-year-old, wanders hither and yon in a semi-fugue and no one seems to notice or care, caught up as they are in their own little moody miasmas.
Well, not everyone's quite so cryptic and morose. Some folks explode into noisily petulant little bouts of theatrical over-acting, inserted at timely intervals in order to prevent you from nodding off. As the minutes and hours crawl along, the whole piece feels increasingly like a cheesy soap opera, typically poorly written and rendered, except that said banally dramatic bits have even less point/relevance than what you see on daytime serial TV.
The film should have ended after an hour and a half but the director/editor/cinematographer stretched it out to double that by fixing the lens on people driving in cars or looking out of building windows while saying/doing absolutely nothing for thirty to sixty seconds at a time. Which kind of happens a lot, along with scenes of characters tete-a-tete in heavy conversation, semi-camouflaged behind said building windows inevitably reflecting some aspect of the sterile, spiritless modern city to the audience eye. Hmm, how profound. And how trite after the third or fourth time.
Optimist that I am, I stuck it out to the end, hoping for a cinematic payoff of some sort. Well, ta-dah! the credits started rolling and I was happy for the first time in hours. For joy.
I just had to post this blurb after all those others extolling the high art of the film, waxing eloquent with "masterpiece," "scathingly honest," "true to life," and, of course, "riveting" and/or "poignant." They all declare "don't miss it," "it's a must-see," and the like.
Well, watch it, I say, too, but only if your intention is to flush one hundred and sixty-seven minutes of your life down the toilet.
The most soulless, pointless thing I have subjected myself to since Aronofsky's Requiem for a Dream. And I still have to drive all the way across town again in order to return the darn DVD.
Movie Review: Just okay
Summary: 3 Stars
While I did not hate this movie or find it to be boring or worthless, I didn't love it either. Overall, I found it just okay. While I usually love foreign films and thus have more patience for them than the average American, this one was underwhelming. The trailer made it seem like it would be a lot more interesting and emotional, and all of the critical praise also led me to expect something a lot more interesting and riveting. The main problem with the film seemed to be how it couldn't just pick one main storyline and subplot and stick with them. Instead it was jumping all over the place, from storyline to storyline, like a Taiwanese soap opera, and never settling down on just one main story and then a subplot. As a result, I found it hard to connect with the characters and be really emotionally drawn in by any of these goings-on. It's hard to get into a film when the characters aren't fully fleshed-out and we're constantly going from story to story. Apart from the adorable Yang-Yang and the Japanese businessman Mr. Ota, none of the characters really came alive or seemed that interesting or sympathetic. The camera work was also rather static, and didn't even feature any real close-ups, which might have helped the viewer to connect more with the characters and feel pulled into the story. It's like Edward Yang were trying to tell too many stories at once, all in the same film. Perhaps it would have helped if he'd cut the film down by at least an hour, so he could concentrate more on just a few characters and their stories, not the stories of the comatose grandma, Yang-Yang's troubles at school, Ting-Ting's love troubles, N.J.'s second chance with his first love Sherry, A-Di's financial troubles with his business partner Piggy, the arrival of A-Di and Xiao Yen's baby, the business deal N.J. is trying to negotiate, Lili's problems at home, and the unwanted presence of Yun-Yun at A-Di and Xiao Yen's wedding and baby shower. It was hard to keep track of what all was going on at any given moment because there were so many characters and storylines to keep track of!
There were a couple of great moments scattered throughout the almost three hours of bopping from character to character and story to story, such as the hilarious fight which breaks out at the baby shower, any scene with Yang-Yang, the scenes between N.J. and Mr. Ota, and the moving final scene, and if Mr. Yang had just focused on wonderful scenes and moments like that, instead of feeling the need to tell an entire family saga in three hours, the film could have had so much more potential. Most of the acting also seemed a bit restrained, thus never letting the viewer really get a sense of that person's emotions and state of mind, though perhaps this is partly because Asians are supposedly more emotionally reserved than Westerners. I generally like long films, and understand sometimes the director needs a little time to fully set up the story, but this film seemed to be so long because the director couldn't make up his mind as to what he wanted his focus to be. Overall I enjoyed it, but it's not something I could see myself watching over and over again.
Movie Review: Brilliant
Summary: 5 Stars
"Yi Yi" is a brilliant Taiwanese film that chronicles the seeming dissolution but eventual restoration of the Jiang family. The premise of the story is that the ill health of the grandmother/mother of the family exposes the weakness and strain that each character faces. Beneath the facade of the intact family, each member strays along a path that is both solitary and unrelated to the rest of family life and that threatens the future integrity of the family itself.
The father NJ runs into an old sweetheart Sherry, ostensibly the one great love of his life, and is tempted to not only enter into an affair but possibly even abandon his family. The mother Min-Min sees her life as meaningless and empty due to the shock of her mother's condition and retreats to a Buddhist monastery for restoration. Ting-Ting, the lovely teenage daughter, gets involved in a potentially harmful love triangle through her friendship with a troubled next-door neighbor. Little Yang-Yang, the son, navigates the trials of school life with his new camera.
The adult characters are so focused on their own problems and desires that they are either unable to do much for the others around them, principally the grandmother, or are oblivious to how much their energy and attention are needed elsewhere. Ting-Ting and Yang-Yang both need their parents' active involvement, protection and guidance, yet the parents are too absorbed in their own needs to be much more than parents in title only.
The film depicts how perilously close the Jiangs come to tragedy, but how at the seeming brink of familial disintegration, a strong underlying commitment to family touched by a hint of supernatural intervention (Ting-Ting's last conversation with her grandmother), brings the parents at least back to their senses and commitments. Life remains painful, mysterious, and unpredictable, but the Jiangs are drawn back to each other in the end. The film ends with the funeral for the grandmother. If she was the rock that held the family together prior to her illness, now they will be able to survive her loss. Little Yang Yang speaks out what is probably the film's deepest message, the longing to understand what happens to our loved ones after death.
"Yi Yi" is a profound film in many respects and it would require several viewings do it justice. But even after one viewing I came away moved and impressed with its eloquent argument for human responsibility, celebration of family, and its mature and universal moral gravity. I am puzzled and pleased that the film has been lionized by critics and the international film world, folks who usually are pushing for excuses for us to abandon our families, break our vows, and worship self above all else. That "Yi Yi" moved many to consider another approach is a testimony to its artistry and intelligence. It is a superb work.
Movie Review: No need for second chances . . .
Summary: 5 Stars
If you like the domestic dramas of Japanese director, Yasujiro Ozu, you'll love this film about an extended family in Taipei, Taiwan. Like Ozu, the style is almost static, the unmoving camera often far from the action, across the room, outside a window, even across the street. Scenes play out in long takes, sometimes slowly, characters often hanging on in quiet desperation until there is a sudden outburst from one of them. At the center of the story is a middle-aged business man with an absent wife, a teenage daughter, a pint-size son with a camera, and a comatose mother who has suffered a severe stroke. Colleagues at the man's company consider taking on a business partner, a Japanese man given to philosophizing, and on a trip to Tokyo he meets up with an old girlfriend from school days - also married.
At home, his daughter has befriended a neighbor girl and her tentative and puzzling boyfriend, while his young son stalks a young girl who likes to go swimming alone and takes pictures of the backs of people's heads. There are other characters on the periphery with problems of their own - including a brother who waits for a lucky day to marry his pregnant girlfriend. In the end, the lessons learned are that life is what it is and that no matter what choices you make, you'll probably end up feeling exactly the same way. Maybe not too profound, but it's a pleasant 3-hour trip to that destination. Lovely soundtrack. The Criterion edition has an informative interview describing the emergence and flowering of Taiwanese cinema.
Movie Review: "Maybe We Only See Half of the Truth"
Summary: 5 Stars
OVERVIEW & STORY:
This review is intended to be part critical analysis and part celebratory love letter to a film that's a genuine modern masterpiece of cinema. Writer/Director Edward Yang's Yi Yi is as close to a "perfect" film as I've seen; warm, funny, humane, poignant, beautiful, evocative, and expertly crafted in every sense of the word.
For those who don't know, Edward Yang is a part of the New Wave of Taiwanese Cinema, along with other acclaimed directors like Hou Hsiao-hsien and Tsai Ming-Liang. These directors all share some similarities; One is a consistent use of precise framing and static long takes. This technique might be most famously utilized by legendary Japanese director Yasujiro Ozu. The comparison is even more apt than that as all of these directors applied their technique to subjects dealing with people in changing societies. Their films perfectly capture the zeitgeist and work equally well as social commentary, historical documents, and film-art.
At its simplest, Yi Yi is a portrait of a middle-class family in Taipei dealing with (as one reviewer stated) "romantic, economic and spiritual upheaval." But if the idea itself is simple and mundane, its execution is complex and incredibly rich. To even attempt a plot summary is difficult, though I will try.
The film opens with the marriage of Ah-Di to a pregnant Hsiao-Yen. This is interrupted by Yun-Yun, Ah-Di's ex girlfriend and current business partner. Ah-Di's brother-in-law is NJ, - the central character, if indeed you can apply that title to any here - a loving father and husband caught in a crossroads in his life; at his work when he is coaxed into befriending a possible business partner in Mr. Ota, and personally when he runs into his first love, Sherry, at Ah-Di's wedding. NJ's wife, Min-Min, is caught up in a spiritual crisis when after the wedding an accident sends her mother to the hospital, and eventually home with the family to take care of. This accident is even more distressing to Ting-Ting - NJ's and Men-Men's teenage daughter - who feels the accident is her fault for forgetting to take out the garbage. Ting-Ting becomes quick friends with the neighbor girl, Li-Li, whose family is having problems of their own, and whose boyfriend, Fatty, becomes a source of contention between the two girls. Finally, there's little Yang-Yang, NJ and Men-Men's young son, who provides a great deal of the humor and profundity throughout the film with his imagination and child-like honesty.
REVIEW:
If the above plot synopsis sounds convoluted and unwieldy, then place the blame on my summary instead of Yang's film. If I had to choose one aspect of this film which succeeds above the others it would be Yang's handling and crafting of the narrative which is so adept that the film never makes one feel it's as complex as it actually is. Though the film is constantly shifting between characters and storylines, the transitions appear seamless. Part of this can be attributed to the editing, which is smooth and extremely unobtrusive, and part of it is due to the aesthetic and emotional flow which perfectly connects scenes and characters together like a fine silk.
When looking at the narrative and characters as a whole it's difficult to find any negatives. Yi Yi is one of the greatest films I know of about ordinary people. It's not just the fact that Yang refuses to hype the characters or their reality, but it's the breadth and depth that's given to both in all the superficial simplicity. One review of Ozu's legendary Tokyo Story mentioned that it was "a film that encompasses so much of the viewer's life, that you are convinced that you have been in the presence of someone who you knew very well." and the same could be applied to Yi Yi. By the end, we get to know these characters almost as real people instead of fictional creations. The same could be said of the narrative which, despite the difference in societies and cultures features characters dealing with problems that plague us all; whether it's NJ's frustration with his failing job, or his nostalgic attempt to recapture a piece of his life that faded long ago, or Men-Men's frustration with her dull, repetitive everyday life that compels her to seek out spiritual fulfillment. Even the children are easy to relate to, with Ting-Ting decision of whether or not to sleep with Fatty for the first time, or Yang Yang's ability to capture a piece of childish imagination and innocence lost to us all. If I had to find a single flaw it might be that the Ah-Di, Hsiao-Yen, Yun-Yun storyline isn't as compelling when compared with the others. It's by no means "bad", but its weakness perhaps lies in the fact that they are the least developed characters in the lot.
Beyond the narrative and characters Yang's themes are as rich as anything else in the film. On the simplest level Yi Yi works to reveal the effect of society on modern people and families and vice versa. However, Yang is less insistent on the import of his themes compared to the likes of Hou Hsiao-hsien. If Hou's films actively explore the state of Taiwanese society, then Yi Yi seeks only to observe, but not comment too deeply. It's this lack of force that prevents the criticism of pretentiousness from ever applying to the film.
Yi Yi is also a film of wonderful moments and scenes. One such scene is of Yang-Yang in AV class, watching the girl he's infatuated with as thunder and lightning play on the screen behind her with the apt subject of "two opposing forces coming together". Another is the masterful montage of Ting-Ting's date with Fatty, paralleled by the dialogue and scene of NJ and Sherry's `reunion'. Yet another features NJ and Mr. Ota discussing their love for music. Other moments are so small they might go unnoticed, such as the simple shot of Ting-Ting entering her grandma's bedroom and grasping her hand, or the musical montage of a vision of Tokyo. But I'd be remiss if I didn't mention Yang-Yang's closing monologue. It's a scene so poignant and so perfect that it has instantly become one of my absolute favorites. In a film full of superb scenes it's a testament to Edward Yang's greatness that he was able to close on the most cathartic of all.
The acting is consistently superb. Even though Nien-Jen Wu (NJ) is perhaps the most accomplished, it's hard to find a weak spot in the cast. Issea Ogata (Mr. Ota) steals most every scene he's in with his exuberance. Elaine Jin (Min-Min) has a couple of tough, extended, emotional monologues and without the aid of editing she pulls them off marvelously and believably in a single take. Kelly Lee (Ting-Ting) brings a sense of subdued emotional subtlety that's indicative of skill far beyond her years. Jonathan Chang (Yang-Yang) practically steals the whole film with the straight-forward honesty he brings to the role of Yang-Yang. He's not adorable in the horribly fake, classic "precocious child" manner, but in a way that's much more truthful to the spirit and purity of childhood.
Yang's direction is masterful and quietly understated. He rarely attempts to draw attention to the camera, and it would be easy for the wealth of incredible shots to go unnoticed. One particularly unique technique is Yang's use of reflective surfaces. This has a remarkable effect of expanding the audience's field of vision, so often we're not only able to follow the story, but get a feel for the environment that's such a crucial aspect of any film. Other times it serves as a source of economy, allowing Yang to capture a scene with as little movement as possible. Beyond the mere shots, the editing is phenomenal. Yang expertly utilizes transitional devices to weave the diverging strands of his complex narrative together. One perfect example is the AV room "storm" film with Yang-Yang transitioning to Ting-Ting caught in a real storm. While devices like this may seem banal, it's the fact that they're never pronounced in a pretentious manner that allows them to serve the film and narrative rather than distract from it. One particularly brilliant narrative device is the comatose grandmother, which after being prompted by the doctors to talk to her the family takes turns revealing their innermost secrets and fears to her and the audience as well. Yang also puts a lot of trust in his actors by liberally utilizing long takes, such as NJ and Sherry's hotel meeting. Finally, Yang presents most of the film in a very patient manner. While he doesn't maintain as much narrative perspective distance from events as some of his contemporaries, he does often use a somewhat voyeuristic style that observes but doesn't attempt to actively involve. This often has the effect of capturing the environment which can speak as powerfully about a scene as what's happening in the story. Two obvious examples are Ting-Ting and Fatty's meeting at night near the road, and NJ and Sherry's meeting in the park. Yang's overall visual aesthetic of one of calm, meditative, and patient observance; certainly the opposite aesthetic of the common, modern ADD riddled Hollywood.
One final remarkable accomplishment I'll mention is how despite the near 3 hour runtime it almost feels too short. There are very few lengthy films I know of that have ever pulled of that trick; one is Kurosawa's incomparable The Seven Samurai, and that is indeed fine company to be in. As the credits rolled, I kept thinking how nice it would be to have spent more time in this world with these people. It's not that Yang doesn't provide a resolution; it's merely that the film is such a perfectly crafted world you might not want to leave.
Sadly, Edward Yang died June 29, 2007 from his long bout with colon cancer. He left behind a handful of masterpieces, including this film, A Brighter Summer Day and Mahjong. In closing I'll reiterate what I said in the opening: Yi Yi: A One and a Two is a genuine masterpiece from one of cinema's greatest and most unsung masters. All I can do is give it my highest recommendation and hope that more people discover one of the strongest candidates for best film of the 21st Century. It's one of those films that celebrates life, and will perhaps make you appreciative of the life you live and the people and places in it. Yi Yi has quickly become one of my absolute favorites and I only wish I could heap enough eloquent superlatives on it to reveal the greatness of this truly brilliant film.
DVD REVIEW:
As per usual, the Criterion edition is magnificent. After renting and falling in love with the film in the Fox Lorber edition I immediately bought the Criterion Edition and was stunned by the increase in quality. The visual transfer is pristine and perfect, but it's really the extras that should prompt a fan of the film to pick it up. The audio commentary by Yang and Tony Rayns is insightful and adds even more richness to an already gorgeous tapestry. The rest of the extras are equally welcomed, including Rayns's excellent interview where he discusses the New Wave of Taiwanese Cinema and Yang's importance in the movement as well as the extensive booklet essay.
Summary of Yi Yi [VHS]
Edward Yang's award-winning masterpiece follows the lives of NJ Nian, his wife, Min-Min and their 2 children who share their Taipei apartment with Min-Min's elderly mother. Now in his mid-40's NJ is a partner in a computer hardware firm which made big profits last year but which will soon go bankrupt if it doesn't change direction. Things start to go wrong for the Jians on the day that Min-Min's brother A-Di gets married. That's the day when Min-Min's mother suffers a stoke and is rushed to the hospital in a coma. It's also the day when NH bumps into his childhood sweetheart (married to an American) who he hasn't seen for 20 years. In the following weeks the family will have to reevaluate who they are and what their lives have become.A wedding and a grandmother's illness reveal fault lines in the lives of one Taipei family in Edward Yang's extraordinary film. Yi Yi is built from deceptively simple elements that together create a complex, warm, and utterly convincing portrait of family life. NJ Jian is a businessman facing bankruptcy, but he has to juggle his financial problems with family strife when his mother-in-law falls into a coma. NJ's wife, Min-Min, brings her mother home, and each family member--including daughter Ting-Ting and her delightful little brother Yang-Yang--spends hours talking to the old lady. These conversations become confessionals and the characters gradually re-evaluate their relationships. There are no catastrophic conflicts, only the ordinary, sometimes troubled, unfolding of lives. Yang enhances the film's sense of reality by frequently holding the camera back from the action. The use of long shots and unexpected angles makes it seem like the audience is eavesdropping, catching glimpses of lives passing by. Yi Yi is almost three hours long, but it flies by. Yang is both a consummate, restrained technician and a subtle director of actors. The combination is a magical one. --Simon Leake
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