Ye ben (2000) Online

"Fleeing by Night" is far from a perfect film, but it is the most enthralling thing I have seen on the big screen in months. It's a movie that I have been thinking about and re-thinking about since I left the cinema, and isn't that what a good film does to its viewer?

The backdrop of the film is pre-war, pre-Japanese-invasion China, a young woman, Ing'er, is the daughter of a wealthy businessman who, among other enterprises, runs an opera house. She is captivated by and admires from a distance the talent and beauty of the star of the troupe, Lin Chung. We learn that Lin Chung has a rare, special talent for Chinese opera that makes him an instant success on stage. We also learn very early on that he is a tortured soul having been orphaned as a baby and raised by his "master", the leader of the opera troupe. So, despite his countless admirers, his life is one without identity, working essentially as a slave in a circus act. His relationship with his troupe leader most closely resembles that of a prostitute-pimp relationship.

Things get interesting when Shaodung returns home from America, a young cellist who has been promised Ing'er as a wife. At first, bored and uninterested in the opera, he has one of those life-transforming moments when he hears (and sees) Lin Chung on the stage. The two young men finally meet, and despite some awkward early moments, the chemistry between them is undeniable and unavoidable.

Unlike most movies, this film climaxes about 2/3 into it in a scene in a car when the two men's affections for one another are tested. Due to fear, jealousy, shame, and hurt feelings, their window of opportunity is tragically missed. From there the film takes one tragic turn after another over-ambitiously trying to incorporate just about every tragedy imaginable: rape, murder, family scandal, foreign invasion, war, disease, prison, ... you name it. Although the film suffers for this, surprisingly when it all comes to an end, it doesn't feel as contrived as it could have had it been in less competent hands.

The film certainly has some flaws: First, it isn't until the Japanese invasion that you have a clear sense for what era the film is supposed to be taking place. It is somewhat obvious that it is set somewhere in the past, but there was a failure to truly capture that in the scenery, the characters, and costume design (unlike Wong Kar-Wai's "In the Mood for Love", for example). Second, despite the stereotypically tragic nature of the tale, the treatment of homosexuality was generally sympathetic. That is, with the exception of one horrible scene which was totally unnecessary and will make every gay and lesbian person cringe and sigh, "Oh, no, not again." And lastly, the narrative sequence at the end that carries us through the entire lives of the characters was somewhat awkward, though again, it was handled about as well as one could handle this technique.

In sum, "Fleeing by Night" is definitely a film to be seen by all; it's another brilliant example of Chinese cinema that is increasingly cornering the market on good sentimental tragedy-romances. Though not perfect, it's an amazing achievement and without doubt one of 2000's best movies.

Apart from the 1948 Chrysler featured in many scenes that were ostensibly meant to depict China in about 1939, this is not a film to be challenged as to its settings. Everything about it suggests authenticity, even to the point of wondering whether it was based on fact. Although the story itself has some structural flaws in coherence, it is a very well made movie indeed.

I was struck by the musical score especially; it is by far one of the most expert blendings of Eastern and Western tonality I have heard in cinema. While traditional Chinese opera remains a mystery to me, I can appreciate how it must be essential to any full understanding of the story line. (Though "stagey" is the adjective that comes to mind, in terms of both the film and the opera within the film.)

Indeed, there is more than a little soap opera here. I am thinking Stella Dallas as played by Anna Mae Wong, or Love is A Many Splendored Thing with two guys in the main roles. But I am being facetious. I really liked this movie for its heart, and recommend it highly.

I do wish I had more information on the actors and director, however. I have no way of knowing whether this came out of Mainland China, Taiwan, Hong Kong, or somewhere else.

I saw this film recently on TV and even on a small screen found it a wonderful viewing experience.

The story moves along at a graceful pace allowing us to observe a 'classic' love triangle in the context of 1930s Chinese culture. Others have provided excellent plot overviews and I would encourage you to read them below.

This film reminded me of the 'love' issues raised from a different angle in the Korean movie 'Bungee Jumping of Their Own'. Both movies tackle challenging subjects in a sensitive manner and leave you thinking about the characters and the plot for months afterward.

I am keen to see 'Ye ben' on a big screen and encourage anyone who wants a truly moving experience to do likewise.

For me - 9/10

Set in Pre-War World II's China, `Fleeing by night' was filmed with a tinted vision of love in its various incantation. A central star-crossed love triangle forms the film's basic narrative, one that is fraud with hurdles of unrequited emotion, forbidden love and karmic twists of fate. All these elements culminated into an unexpectedly moving film and a poignant piece of Chinese cinema.

Despite its artsy trappings, this bittersweet melodrama (opening in Singapore this week), was a surprise box-office hit back home in Taiwan. One can understand why.

The cinematography was top rate. Each shot was framed with a hypnotic grace, designed to evoke a sense of nostalgic longing. The same can be said about its music, strategically employed to set the shifting mood throughout the story. The ensemble performances of the cast were also equally illuminating, generating genuine audience empathy for their characters. During many the unspoken scenes, the intensity on the screen was heightened by the nuanced articulation of its actors, bringing with it many stolen moments of clarity and poignancy.

(Spoilers Alert!!! Please proceed to the next paragraph if you have not seen the film as I will be revealing a major plot point in the below paragraph in my discussion of a scene from the movie.) Case in point, the scene where both male leads sat side by side in their car, juxtaposed by the beautifully captured shot of falling snow on the outside. Stirring strains of fiddling strings echoed in the air. The atmosphere was charged with a suspenseful undercurrent so gripping, the theatre I was in, sat silent with anticipation. For that scene, both of the male leads had reached a pivotal cross road in their relationship, and the path with which they choose would, unknown to them, profoundly impact the rest of their lives. Kudos to both actors for fleshing out their inner turmoil and conflicted emotion with such clarity, sensitivity and respectful subtlety. (This was my favourite scene of the entire film and arguably the emotional peak in its narrative arc).

Alas, as with most art house projects, this film does have one indulging misstep. The film seemed half an hour too long as the last quarter of the film was inundated with one too many elements of melodramatic plot devices. This unfortunately tilted the film's narrative balance slightly, thus diluting its overall emotional resonance. Prudent editing would definitely have helped in, not only improving its narrative flow, but elevating its quality to ‘Classics' calibre.{I.e. In the same league as `To Live'(Hou Zhe by Zhang Yi Mou) or `Xiu Xiu - the sent down girl'(Tian Yu by Joan Chen)}.

In retrospect, the above flaw is insufficient in toppling the overall achievement of `Fleeing by night'. I am won over by its beauty and sensitivity. I admired its old world nostalgia and respected its conviction in exploring challenging themes. By closing credits, this film has secured my two thumbs up. One of the most moving and thought provoking experience from Chinese cinema in a long long time.

It is a story about two men and a woman --- more likely two boys and a girl as they were innocent and confused in their own way.

There may be no more complicated things than three kinds of love twisted between three close friends constantly influenced by surroundings. There are other films about this triangle, but set in the unsettling historic period before the country's new foundation and mixed with the fascinating Chinese verbal culture of Kun drama, this film offers one of the deepest and most overwhelming cinematic experiences I've ever had. Lei Huang and Rene Liu, as usual, brought forward nostalgically exquisite acting and Chris Babida's music was just as graceful as his any other works. Chao-te Yin was a surprising found, handsome with both manly fortitude and feminine delicacy.

It's original, subtle and very literarily poetic. The dialogues are sometimes so neotericly literary that it almost reminds me of Lu Xun, Lao She and all those great writers once in the junior Chinese books. Thus, some pieces were very unnatural as being said by the characters, but I think there is no problem alike when you only get their meanings from the subtitles, but also that's when some of its unique charm lost. I guess that's a universal problem when it comes to foreign language films.

It may not be perfect due to some factitious parts here and there, which in no way harm the beauty and depth on the whole. Most importantly, it manages to tell us: love is multifarious, but the universal truth about it is it comes from the heart. Be it tortured by circumstances, it will always find a way to last.

Strongly recommend it to Chinese viewers who need a nostalgic introspection and foreign film lovers who want something totally different from other foreign language cinematic experiences (Chinese ones of exclusive lower-class depiction included).

This epic film is extremely moving and involving. It explores different types of love and some of the ironies of arranged marriages. Although there are gaps in the film that are covered by voice-overs, the overall effect is very powerful. The message of the film is universal. The acting is excellent.

The first thing I felt after finishing the film is that Chinese are very, very reserved in their expression of feelings; but in this film it becomes an inseparable element to the film.

The storyline is simple and straightforwardly sad: no twists, no surprises, and we all know what is bound to happen in the end, yet we hold on to that one hope that things will get better for the characters. It's one of those tear-jerker films you watch to get a kick out of the sadness.

Chris Babida composed the soundtrack for the film and I must say he did it again! The music blended really well with the film and somehow I felt peaceful towards the end of the movie. He also wrote the soundtrack for the 1998 gay-themed Bishonen, another very poignant and very sad film. I'm just glad they invested in using real string sections for the music instead of MIDI strings! Worth the watch if you occasionally enjoy slow-paced sad Chinese movies with rather literary dialog, and for better enjoyment, watch when you have a lot of time to kill and in silence so you can enjoy every sight and sound of the film.

FLEEING BY NIGHT (Ye Ben)

Aspect ratio: 1.66:1

Sound format: Dolby Digital

Tianjin, the late 1930's: A young cellist (Huang Lei) returns home from studies abroad and makes preparations to marry his childhood sweetheart (Rene Liu), the daughter of a wealthy businessman. But the relationship is soured when Huang meets and falls in love with a male Chinese opera singer (Yin Chao-te) who is being pimped by his mentor to a local gangster (Tai Li-jen). Tragedy ensues.

Several key personnel from CROUCHING TIGER, HIDDEN DRAGON were reunited for this Chinese/Taiwanese co-production, including co-director Hsu Li-kong (longtime associate of director Tsai Ming-liang) and co-writer Wang Hui-ling. While it's a pleasant surprise to find a government-sanctioned Chinese film addressing a number of previously taboo subjects (corruption and hypocrisy in high places, gay romance, etc.), the results are decidedly mixed. Hsu's historical drama (co-directed with Yin Chi) relies for much of its dramatic impact on a measured accumulation of narrative details, mixed with all the expected trappings of traditional Chinese melodrama (villainous gangsters, thwarted love, enduring loyalty, lifelong tragedy, etc.). Too much time is spent on Huang's doomed relationship with Liu, and the subsequent romance between Huang and Lin is thwarted at every turn, frustrating audience expectations and leading some critics to question the film's sexual politics.

More a tragedy than a love story, the narrative builds to a genuinely heartbreaking conclusion: Few will be unmoved by a blunt, devastating sequence at the end of the movie in which Huang and Yin are 'reunited' after many years apart, all the more heartbreaking for the understated manner in which it is staged. Huang (LIFE ON A STRING, THE PHANTOM LOVER) makes an attractive and sympathetic protagonist, while Yin smoulders intensely in a difficult role, and Liu (who made an impressive debut five years earlier in the title role of SIAO YU) is quietly effective as the understanding wallflower laid low by her fiancée's deceit. Equally memorable is Tai, playing the nominal 'villain' as a sympathetic character hidebound by traditions and his place within Chinese society. Ultimately, some viewers will reject the film's deliberate pacing, while others will embrace its unassuming stateliness and grand romantic heart.

(Mandarin dialogue)

There are two reason why I write this review. First, I like this movie, it is a good film. I only feel pity that the film concentrate only around the three main characters but not much about the relation between the rich man and the theatre actor (Lin Chung). It has only shows a bit but immediately hide it. In their "love" scene, it seems that Lin was not really forced but someway somehow consensual. At the end of that scene, they are a kind of "holding/leaning on each other's naked body. At the "running away" night, when the rich man was watching the opera without Lin in, his eyes are red, there were tears in his eyes. It would be much nicer and richer if there was a sub-plot for that. The movie talks about gay love, the encounter between the young guy and the theatre actor is simply not enough for that.

Secondly, please do not compare this movie with films from Wong Kar Wai as one of the viewer has done. This movie is far much better than those artificial films from him.

The film is well made and does have several moments that are very cinematic. However, it should not be trumpeted as an Art film just because it presents an alternative lifestyle. If the characters were straight, we would be looking at a normal love story.

I think this point is important because 2 other films came to mind as I was watching Ye Ben, namely Happy Together and In the Mood for Love. Both films were directed by Wong Kar Wai. It is when you contrast Ye Ben to Wong's films that you realise what is Art and what is not. In Happy Together, you could have a straight relationship and the movie would still be considered an Art film. This is supported by In the Mood for Love.

But Art aside, Ye Ben can stand on its own merits.