| ORIGINAL TITLE |
Gu ling jie shao nian sha ren shi jian |
| YEAR |
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| RUNNING TIME |
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| COUNTRY |
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| DIRECTOR |
Edward Yang |
| SCREENWRITER |
Edward Yang, Hung Hung, Mingtang Lai, Alex Yang |
| COMPOSER |
Miscellaneous |
| CINEMATOGRAPHER |
Huigong Li, Longyu Zhang |
| CAST |
Chang Chen, Lisa Yang, Zhang Guozhu, Elaine Jin, Juan Wang, Chang Han, Jiang Xiuqiong, Lai Fanyun |
| STUDIO/PRODUCER |
Yang & His Gang Filmmakers / Jane Balfour Films / ICA |
| AWARDS |
1991: Tokyo International Film Festival: Special Jury Prize (ex aequo), FIPRESCI Prize |
| GENRE |
Drama | The 60s |
| SYNOPSIS/PLOT |
Film critic Jonathan Rosenbaum: "I have no doubt that the 230-minute version of A Brighter Summer Day--which I was lucky enough to see in Taipei, and which will play at the Film Center on November 15 and 20--belongs in the company of key works of our era: Kira Muratova's The Asthenic Syndrome; Bela Tarr's Satantango; Kiarostami's Close -up, Life and Nothing More, and The Taste of Cherry; and Hou's trilogy--City of Sadness, The Puppet Master, and Good Men, Good Women. (I should add that, ironically, A Brighter Summer Day may also be the easiest of Yang's features to follow as a narrative--even easier than the markedly different 202-minute version Yang was forced to create in order to find a distributor.) Indeed, Yang's film surpasses these other masterpieces in its novelistic qualities, richly realizing a physical and social world as dense with family, community, and other personal ties as any John Ford film, and furnished with more sheer physical presence (including characters, settings, and objects) than any other fiction film I know of from the 90s. It took Yang four years to prepare--much of the time apparently spent training his superb cast, which is mainly composed of nonprofessionals. In fact, this film is so uncommonly good that Yang's other very impressive works pale beside it". (Jonathan Rosenbaum: Chicago Reader, November 1997) |
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