The Eight Hundred Overview: Chinese Blockbuster Drives Big-Screen Return


4 days appears like an eternity in “The Eight Hundred,” mainland Chinese writer-director Guan Hu’s monumental, if generally unwieldy epic interpretation of the brave protection of a warehouse by the Chinese Nationalist Military in October 1937. For these with little data of the Sino-Japanese Conflict, the bombardment of info, motion and characters within the 147-minute movie may be an excessive amount of to absorb at one go. However the spirit of the mission, like that of “The Alamo,” must be straightforward for any viewers to root for. 

Since its mainland China launch on Aug. 21, the $80 million mega-production by main studio Huayi Brothers has conquered $165 million on the field workplace, making it a pandemic-era international theatrical top-grosser. It would go down as a breakthrough not solely as Asia’s first movie shot solely with Imax cameras, but additionally for its audacity to deal with a historic chapter delicate to either side of the Straits in a comparatively impartial and entertaining mild. Touted to open the Shanghai Movie Competition in June 2019, the movie was pulled for “technical causes” and resurfaced 14 months later with a operating time 13 minutes shorter. The movie opens in North America on Aug. 28.

In contrast by the Chinese media to “Dunkirk” lengthy earlier than its launch, the saga does share comparable sentiments of survival, grit and triumph in defeat. Guan’s path could also be much less radical or propulsive than Nolan’s, but it surely too plunges audiences into each the intimacy and magnitude of brutal conflict spectacle whereas immersing them in a stunningly mounted interval canvas.

A director who efficiently straddles TV and auteur cinema (his movies “Cow” and “Mr. Six” each premiered in Venice), Guan’s eighth characteristic is definitely his most overarching. The central imaginative and prescient that runs by way of all his works — of survival, destiny and the weather — are projected onto a panoramic human crucible. Just like the growing older gangster in “Mr. Six” or the widow in “Design of Dying,” characters in “The Eight Hundred” are always compelled to make selections and forge their very own codes of morality: Officers should resolve to obey orders or do the honorable factor, cowards are torn between fleeing or alerting comrades of hazard, civilians should select between bringing help to the warehouse or staying away from the crossfire.

On Oct. 25, Shanghai fell to the Japanese after practically three months of staunch resistance. Gen. Chiang Kai Shek ordered some troops to remain behind as rear guard and to point out that Chinese gained’t give up in hopes of profitable sympathy on the upcoming nine-power convention in Brussels. 

So the 542th Regiment from the elite 88th Division of the Chinese Resistance Military (NRA) was despatched to carry the fort in Sihang Warehouse (aka China Mint Warehouse), a six-story constructing co-owned by Shanghai’s 4 main banks. Joined by less-trained safety corps from Hubei, Hunan and Zhejiang, these 411 males had been up towards the Japanese Third Division, the best caliber within the Imperial Military. Although their objective was merely symbolic, the lads had been anticipated to die defending the warehouse. They held out for 4 days. 

To their benefit, the warehouse was located throughout the British concession (aka the Worldwide Settlement). Regardless of their superior provisions, the Japanese needed to chorus from bombing or deploying heavy artillery in case it misfired into the impartial zone, thus inflicting diplomatic fallout. The incident made world headlines, boosting nationwide morale and rallying international assist. 

The screenplay by Guan and Ge Rui punctuates every day with a dramatic climax. Day One is the movie’s most interesting hour, because the Japanese launch their first assault with environment friendly ferocity. Choreographed and edited at breakneck pace, the carnage erupting out and in of the positioning is headily propulsive, capturing the rookies’ shocked disorientation in a uncooked sensory method.

Day Two hinges on how the Japanese, mortified by their preliminary setback, vow to take down the warehouse in three hours. Because the enemy’s offensive escalates, navy geeks may have a discipline day with strenuously detailed strategic formations and genuine trying arrays of WWII artillery, mortar and tankettes. (The movie employed Chinese and Japanese navy consultants.)

Day Three re-creates the legendary feat of Yang Huimin (Tang Yixin), who wrapped the KMT nationwide flag round herself and swam throughout the river to ship it to the regiment. The scene was contrived as essentially the most blatant glorification of KMT management in “The 800 Heroes,” a 1976 propaganda movie produced by then Taiwan state-owned Central Movement Photos. Guan adroitly will get round that awkward scenario by exhibiting the flag solely in blurry lengthy pictures and having it shot down by enemy gunfire like a tattered rag.

Day 4 begins at a precipice of looming menace, then flashes again to 14 hours prior, to the hand-wringing political and ethical selections that lead as much as the sensational finale. Guan used the identical ploy to good impact in his WWII spy-comedy “The Chef, the Actor, the Scoundrel,” however right here it’s largely a car to lecture on the failings of the KMT and the ruthless expediency of the Generalissimo. This ponderous lull is considerably relieved by the emotional rendering of the corps’ camaraderie and the portent temper of unnatural calm earlier than the finale ends the movie with a particular bang. 

Other than such hefty set items, there isn’t any scarcity of shifting scenes, corresponding to when the lads stand bare in rows to take their final tub. The movie can be infused with a few of Guan’s favourite aesthetic components, corresponding to Peking opera, animal imagery and people tradition corresponding to shadow puppets, which give bleak eventualities an uplift of colour and poetry.

Whereas audiences expertise the urgency of fight from thrilling P.O.V. pictures of the soldier-protagonists, in addition they alternate constantly with these on the opposite shore. Guan is nearly didactically invested in charting the concession residents’ conversion from detached spectators to cheering supporters. The picture of two worlds separated by a river, one blood-soaked, the opposite luxuriating in diplomatic impunity is a well timed image of social divides, however their look and performance grow to be repetitive, weakening the narrative thrust and company of extra decisive gamers. 

It’s pure that such a colossal work would require an ensemble solid. Nevertheless, the character roster is so bloated, it’s onerous to maintain up with their trajectories — and in the end, to care deeply. As Col. Xie Jinyuan, whose management was the driving power of their indomitable resilience, Li Chun shows nearly no vary in his efficiency. 

The Japanese facet is much more under-represented, their psyches and responses barely factoring into your complete battle. Nevertheless, it’s refreshing for a Chinese Conflict of Resistance movie to painting the Imperial Military as simply doing their job, as a substitute of the same old howling sub-human stereotypes.

Utilizing the digital Imax Alexa, DP Cao Yu (who has expertise taking pictures one other WWII conflict movie, “Metropolis of Love and Dying”) intentionally eschews the grainy textures widespread within the style for refined, vivid picture high quality, with practically as many closeups as sweeping pictures. With no expense spared, digital parts by 5 visible results homes below supervision of Tim Crosbie (“X-Males: Days of Future Previous”) are top-flight, whereas manufacturing designer Lin Min labored with 1:1 modeled units to re-create the splendor of European concession structure, contrasted towards the drab but sturdy warehouse. Music composed by Rupert Gregson-Williams and Andrew Kawczynski is commonplace Hollywood fare, although the selection of Irish ballad “Londonderry Air” (aka “Danny Boy”) because the theme tune (sung as a bilingual duet by popstar Na Ying and Italian tenor Andrea Bocelli) ends the movie on a elegiac but serene observe.


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