In this, the explosive first major IMAX blockbuster outside of the United States, we behold... one of the worst natural disasters of the 20th century. Wow, when you put it like that, this sounds either like profiting off of tragedy or, well, "Titanic", and this film is… More
In this, the explosive first major IMAX blockbuster outside of the United States, we behold... one of the worst natural disasters of the 20th century. Wow, when you put it like that, this sounds either like profiting off of tragedy or, well, "Titanic", and this film is certainly no "Titanic". Now, that's not to say that this film's isn't good, because it is indeed quite good, it's just to say that "Titanic" was great, probably because we Americans actually remembered it and put so much filmmaking effort into it that we ended up breaking ground... with the help of a Canadian filmmaker who oversaw a cast that was filled with non-Americans. Seriously though, it's a disgusting shame that the horrible Tangshan earthquake isn't more recognized, at least enough for there to be more major filmmakers attached to this project in order to pump it up, but hey, I reckon you could say that this blockbuster does, in fact, like "Titanic", involve breaking ground, if you know what I mean. Lame and kind of morbid earthquake joke aside, this was a big deal that hasn't gotten the international recognition it deserves, though I'm glad that at least someone remember this disaster, because this film was such a huge hit over in China that it grossed 665 million Yuan. Granted, in USD, that's only about $108 million, something that blockbusters like "Titanic" grosses over the weekend, but either way, the point is that this film was a success, and it sure deserves it, because this is one compelling film. Still, while this film is by no means an earthquake-grade disaster, it's not without shakes and rumbles that are outside of this important subject matter.
A mostly meditative drama that pays thoughtful attention to the lives of its characters, the film, of course, has moments in which gets carried away with its steadiness, thus creating slow spots that bland things up a bit, while calling your attention more towards the final product's runtime, which, at around two hours and a quarter, isn't necessarily sprawling, but a bit longer than it probably should be. Sure, the film generally takes advantage of its relative lengthiness to flesh out its depths as a drama, but with some excess material, if not meandering repetition, this film takes on overdrawn spots that create a final product that takes more time than it should to tell a story that, quite frankly, seems a bit too familiar. The film is effective enough to feel refreshing in certain areas, but it's hard to not notice some kind of Hollywood-esque formulaic approach to the telling of a tale that is worthy, but would be stronger if its interpretation's structure didn't seem too familiar for its own good, which isn't to say that the resonance-diluting issues within Su Xiaowei's script end there. This film's story is an emotional one, and its dramatic potential deserves to be celebrated as much as it can be, but in oh so many places, Xiaowei gets kind of carried away in his dramatic writing, which has a tendency to slip into subtlety issues that are generally adequately compensated for by inspiration within Feng Xiaogang's directorial storytelling, but still stand, creating a sense of sentimentality that wants so hard to juice dramatic kick, but just its up holding it back a bit. I can understand why this film would get so passionate about telling this tale, as this subject matter is very important, yet in a somewhat Hollywood fashion, the film all too often resorts to sentimentality to summon an emotional rise that perhaps would have been more effective if this film was more solely reliant on its more genuinely inspired areas. Really, if nothing else can be said about the film, it's ambitious, and such ambition not only breathes much life into the aforementioned subtlety issues, but emphasizes other shortcomings, so much so that the final product faces a very real risk of collapsing into a bit of underwhelmingness. Still, when it's all said and done, the film cuts through all of its issues in pacing, originality and sentimentality enough to compel thoroughly, or at least deliver on commendable artistry that even works its way into the musical aspects.
Wang Liguang's score could be a bit more recurring, even though when it is played up, it sometimes takes on a formulaic spirit that augments sentimentality a bit, yet not to where you can easily forget the strengths of Liguang's efforts, whose rich tastefulness is both commendable on a musical level, and mostly adds to resonance with an audible elegance that goes nicely with visual elegance, powered by cinematography Lü Yue that isn't consistently striking, but has its moments of play with lighting that is just downright gorgeous. The film is very well-done on a musical and stylistic level, with artistic eyes and ears that help in springing this world to life, at least when we're not faced with visual effects that impress... in a very much relative way, seeing as how Chinese cinema hasn't exactly mastered digital effects, as reflected by many a questionable area within this film's effects, which are still well-conceived and adequately convincing enough to be effective when the earthquake comes. Sure, this film is more of a study on the aftermath of the Tangshan earthquake, so the big plays with visual effects arrive early in the film, then quickly depart, never to be seen again, but impress just fine, if you can get past technical shortcomings, helping in selling you on this film's story in a stylish fashion that, at the end of the day, isn't really needed for you to get invested in this worthy subject matter. When I say that it's a mighty shame that there are plenty of non-Chinese nowadays who can't quite recollect the Tangshan earthquake of 1976 and its aftermath, I really do mean it, because this disaster was a devastating one whose impact dug deep into Chinese society for years and still lingers to this day, as this film reminds you, focusing not only on the horror of the earthquake's arrival, but on the changes faced by society and individuals after the disaster, thus making for a promising story concept that deserves the inspired interpretation that it does, in fact, get, even when it comes to the acting department. The dramatic potential within this very human drama gives our performers plenty of opportunities to deliver, and they do not disappoint, with our leads breaking up charming restraint during the calmer moments with a moving dramatic range that asserts commitment within the performances, while adding to the human depth of this character piece. On the screen, much of the potential within this drama is well-explored through inspired acting, and when it comes to a certain performance off of the screen, director Feng Xiaogang does not disappoint, or at least not on the whole, as his dry spells in atmosphere - broken up by sentimental spells - and overambition don't exactly do much to fight back the shortcomings within Su Xiaowei's script, most of whose flaws are nonetheless compensated for by what is done quite right within Xiaogang's storytelling, whose thoughtfulness gives you enough insight into the lives of our leads to get you by during the slower moments and really power the film's highest notes in resonance, whether they be seen within gripping tension during and briefly after the earthquake, or within dramatically effective notes that fight through sentimentality enough to move as deeply touching, if not occasional able to inspire a choke-up. I really do wish I could say that Xiaogang was even more charged in his efforts as director, almost as much as I wish I could say that Xiaowei was more clean in his efforts as screenwriter, because there is just so much potential to this film, but in the end, there is enough done quite right in the final product for it to compel, maybe not on the level that it could have, but certainly on a fairly rewarding level.
When the shaking ceases, you're left with a very strong film whose full potential is too stricken by slow spells, dragged out areas in story structuring, conventionalism and sentimentality to be fully realized, which isn't to say that there's not still enough inspiration within Wang Liguang's lovely score, Lü Yue's attractive cinematography, questionable, but generally decent effects, strong acting and thoughtful direction to make Feng Xiaogang's "Aftershock" a compelling study on the impact of one of the great natural disasters of the 20th century.
3/5 - Good
