THE TERRORIZERS (Edward Yang, 1986)

The Taiwan Film Festival finished today, and I was able to see another early Edward Yang film, The Terrorizers (1986). Last week I saw Yang's Taipei Story (1985), and although it was quite different from Yang's later Yi Yi (2000), there were enough similarities to suggest a cohesion. The Terrorizers, on the other hand, has almost nothing in common with later Yang, and only connects with Taipei Story through the milieu.

The Terrorizers tells a story connecting numerous characters and how their lives intersect. Like many such narratives, the last half is much more compelling, especially on first viewing, because of the difficulty of establishing so many characters and their various interrelationships. Even by the conclusion, there are a number of aspects that I still find puzzling and unexplainable. However, this does not take away from the power of the plot's unfolding. There is not just one but two artist characters in the film: a male photographer and a female novelist. As a result, the unfolding of the character's lives is presented in a very self-reflexive manner, in which art does have a profound influence on lives, even if this impact is mostly on the personal level. In addition to the two artist figures, Yang also includes a character, nicknamed "the white chick" (she is actually Eurasian), who is blatantly symbolic. Despite these distancing devices, the film never loses its sense of lived reality in modern Taipei. That said, it lacks the social zeitgeist quality of Taipei Story.

The influence of the European art cinema is very present here, probably more than Taipei Story. I found the often noted resemblance to Antonioni more prevalent here, as well as a continued affinity with Wim Wenders. But the film that I was reminded of most while watching The Terrorizers was not from the past but rather a work made a decade later, the Korean film The Day a Pig Fell in the Well (Hong Sang-soo, 1996). The rather drab look of both films, along with their multi-character narratives, are initially oft-putting but become gradually more effective as they progress. The figure of the artist is prominent, as is common with both Yang and Hong. The two works also share an interest in surrealism, as evident in the presence of sudden outbursts of sexualized violence as well as unmarked dream sequences towards their respective conclusions.

I doubt if the influence on Hong was direct. But it is interesting to note that both Yang and Hong, early in their respective careers, made similar films that merged European cinematic styles within their own emerging national cinemas. As it turned out, Hong would be more consistent in his output than Yang, although Hong's first film remains the most unlike the rest of his remarkably consistent output. As for Yang, I'm anxious to track down his 90s work to see how he moved from these early studies of modern and post-modern Taipei to the very different Yi Yi in 2000.

TAIPEI STORY (Edward Yang, 1985)

Like many, my only exposure to the work of the late Edward Yang was thorough his final film, Yi Yi (2000). None of his other films are easily available on DVD. I was hoping the Taiwanese film festival would include Yang's 1991 film A Brighter Summer Day, often cited as his masterpiece and difficult to see in its complete version. The festival was missing this work, but did include Yang's previous two films, Taipei Story (1985) and The Terrorizers (1986). Both were playing here last night, unfortunately the only screening of each. Due to time constraints, I was only able to see the first of these.

Reading about Taipei Story before the screening, I was surprised to see the number of critics who compared Yang with Michelangelo Antonioni. The influence never crossed my mind in regards to Yi Yi, and I'm not sure it would have come immediately to mind with Taipei Story either. I would not argue against the modern existential characteristics of the work, but watching the film I thought of Timothy Corrigan's book A Cinema Without Walls (1991) which deals with the phenomenon of postmodernity and its influence on movie culture. What we generally conceive of as modernity and postmodernity collide in Taipei Story and give the film a real fascination and beauty. Unfortunately I do not have a DVD copy to provide stills, but many of Yang's most memorable images come from this collision. The scene that stays in my mind take place on a rooftop in front of a large neon Fuji sign, the two lovers dwarfed and in shadows while classical music plays on the soundtrack. The more Taiwanese cinema I watch, the more its influence on Wong Kar-Wai becomes apparent.

A curiosity about Taipei Story is that it stars Hou Hsiao-Hsien, who would become the major director of the Taiwanese New Wave. After viewing each director over the past week, there are actually few similarities between them. Yang is a much more conventional director. There are some uses of the long take, but there are plenty of sequences with more cutting and close-ups. Yang is interested in the spaces and objects of modernity (and/or postmodernity) and trying to relate the importance of these to the characters and their world. The West also plays a major symbolic role here, not surprising given Yang's background living in the U.S. The dream of California, represented both commercially by the lead character's brother and culturally through VCR tapes of American baseball, lingers over these people's lives as an illusion that oddly lacks any real utopianism. It is simply a retreat and escape.

In this way, Yang is certainly closer to European art cinema directors of the 60s and 70s, who in fact influenced Yang to become a director. After dropping out of USC film school feeling he lacked any talent, Yang re-engaged with the medium after watching art cinema classics, beginning with Werner Herzog's Aguirre, Wrath of God (1972). And much more than Antonioni, it is the New German Cinema influence I see as prevalent in Taipei Story. The inspiration is not so much Herzog as Wim Wenders in Yang's attraction-repulsion to America and the later films of Rainer Werner Fassbinder in Yang's enclosed compositions combined with elements of classicism. Hou's performance here reminded me of Fassbinder's roles in many of his bleak urban dramas.

In a short review of Yi Yi written a few years ago, I commented: "Throughout the film, Yang uses a repeated visual motif to express his multi-character narrative in which each strand comments upon the other: the overlaying of reflecting images of windows that create dense, layered compositions. Early in the film, one character states: 'Is there anything real left?' These compositions seem to ask the same question." Taipei Story is a very different film, but it has some of these same characteristics. And although the overlapping image shot is not a visual motif here, the film does end with one of these compositions. Although the sense of connection is not as elaborate (some could say schematic) as it is in Yi Yi, Taipei Story offers up a similar tale of past, present and future colliding in modern Taiwan. The much more pronounced cynicism around the family in this early work also provides a clue to the more subtle pessimism of Yi Yi.

A couple of links to writing on Yang:

Rosenbaum's career overview

Senses of Cinema profile

UPCOMING: TAIWAN FILM FESTIVAL

The 2nd Taiwan Film Festival will be held at the Seoul Cinematheque from June 10th-26th. The schedule has not yet been announced, but will feature a career overview of the late Edward Yang as well as films from Hou Hsiao-Hsien. No information as of yet on English subtitles.