• Three-pronged film: an innovative biopic, a work from a clear auteur, and a political/historical film marking the end of the 19th century and a 50 year occupation of Japan in Taiwan
  • Tien-Lu Li plays himself in both voice-over and talking directly to the camera updating us on his history. The film alternates between that (which I’d rather read in a book honestly), his puppet and stage work, and the recreation of his life events with actors – HHH weaves them together.
  • Breaking down the three sections the direct to screen dialogue by Tien-Lu Li is really of no interest artistically. If you are a documentary enthusiast and interested in the influence of Kiarostami (specifically Close-Up) on HHH or this film I can see it. It’s an interesting genre blend. The puppet/stage work is more interesting—particularly the fact that HHH uses his normal long takes, medium-long distance shots, static camera on these- you can see audience members in many of them (people walking in front, standing)- great. The most remarkable aspect is the recreation of the history through actors. Here is where HHH users his trademark aesthetic most often though the best compositions are back-loaded and really don’t show up until the end of the film and the beauty of them (and # of them) can’t compare to A Time to Live and a Time to Die – some nice Ozu shoji-door compositions
  • The historical/political aspect—Japan military cutting pigtails, not being able to perform puppetry outdoors
  • The implication of family member deaths and the effect on the family—from A Time to Live and a Time to Die– the family breaks up, misbehaving, abuse
  • The formal weaving of the puppets is great- death ceremony
  • Long speeches giving us the background on family
  • The scene where Tien-Lu Li has his faithfulness (to his mistress) tested is great
  • Like I said above the best sections and most ambitious and beautiful mise-en-scene compositions are towards the end. One at 108 minutes—J & B scotch, depth of field, drunk Japanese soldier – stunning— another one 120 minutes in. An incredible composition. Sitting eating at night. 7 people in the frame for extended time with bars framing the family to the left, right and in the background with laundry hanging. Then the light goes out—really well done. We stay there for another strong composition the morning after
  • R/HR