Lung, a former member of the national Little League team and now operator of an old-style fabric business, is never able to shake a longing for his past glory. One day, he runs into a forme...
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When a well known businessman goes missing, owing $100m to Taipei's underworld, two hoods decide to follow his son, the leader of a youth gang. A small group of trendy foreigners gets caught up in the action.
Based on a true story, primarily on a conflict between two youth gangs, a 14-year-old boy's girlfriend conflicts with the head of one gang for an unclear reason, until finally the conflict comes to a violent climax.
A-yuan and A-yun are both from the small mining town of Jio-fen. In the city, A-yuan is an apprentice by day and goes to night school, and A-yun works as a helper at a tailors. Everyone ... See full summary »
The film focuses on three city folks who unknowingly share the same apartment: Mei, a real estate agent who uses it for her sexual affairs; Ah-jung, her current lover; and Hsiao-ang, who's ... See full summary »
Lung, a former member of the national Little League team and now operator of an old-style fabric business, is never able to shake a longing for his past glory. One day, he runs into a forme teammate who is now a struggling cab driver. The two talk about old times and they are struck by a sense of loss. Lung is living with his old childhood sweetheart Ah-chin, a westernized professional woman who grew up in a traditional family. Although they live together, Ah-chin is always weary of Lung's past liason with another girl. After an argument, Ah-chin tris to find solace by hanging out with her sister's friends, a group of westernized, hedonistic youths. Written by
He killed someone once. A black person. Later the police came and he was acquitted. He said that in the States, if you see a suspicious person in your yard, and if you can shoot them dead, drag them into your house and plant an unregistered gun on them. They call it self-defense. You're not guilty.
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Although all Edward Yang's films deal with similar themes, characters and
milieux, it has been common to divide his work into three relatively
distinct categories - the multi-character panoramas (e.g. 'Yi yi', 'A
brighter summer day'); the satiric comedies (e.g. 'A Confucian confusion');
and the formalist, Antonionian studies in urban alienation (e.g. 'The
Terroriser'). These latter are the most difficult to watch, with narrative
rigorously fragmented, characterisation distant, the ugly, monumental urban
On the surface, 'Taipei Story' seems to belong to this category. Its
opening sequence is similar to the tone of 'the Terroriser'. A couple are
checking out an empty apartment the woman hopes to move in to. Yang
emphasises the inchoate nature of the apartment, its emptiness, its
forbidding whiteness and angularity - the first thing you notice about an
empty apartment is how many walls it has. The woman talks a lot about what
she hopes to do with it, but the characters' expressions are as blank as
rooms that surround them. We wonder if the apartment is a projection of
their relationship's hollowness, or a sign of its future, its beginning,
something to be filled up with life.
Yang's way of filming his characters in this space, blocking them off from
one another by walls, framing them in doorways etc., certainly seems to
suggest a distance in their relationship. After all, the man is just about
to go to America on a business trip - this very ritual of togetherness is
shadowed by an upcoming rupture.
As in 'Terroriser', there is something almost metaphysical about this
which seems to be about the material (walls, floors etc.). There are
of previous occupants. The woman talks about what she intends to do with
the room. Yet between the past and the future, these characters exist in a
very empty present tense, ghosts in the house of predecessors and future
selves. This feeling of being and yet not being quite there is quite
familiar in Yang's work - we see it in the dream narrative of 'Terroriser',
for example. One of his most recurring devices is to film action in
window-reflections or mirrors, visualising the theme of alienation so
central to his work (alienation from family, work, city etc.), but
domesticating it, showing that the bigger alienations start with an
alienation of the self. The vast jungle of the skyscraper-laden city is
thus a literally monumental backdrop for the human shadowplays that
As in the best novels, the best films crystallise their thematic and
narrative intentions in the opening scene, which is why this sequence is so
important. It also structures the narrative to come, which will chart the
fragmentation of the relationship, and the separate, doom-laden destinies
the lovers. But although everything points to 'Taipei story' belonging to
the third category, there is a humanism at work that brings it closer to
first. In 'Terroriser', the characters' lack of character was a crucial
thematic element, but made it difficult for the viewer to be interested in
their fate, forcing him/her to concentrate on their formal properties as
part of the overall mise-en-scene.
In 'Taipei story', as in 'Yi Yi', we are closer to 3-D characters, we are
given insight into their personalities, their histories, their desires,
their frustrations. We see them at work, at play, at home. We see them
interacting with the city, even as they are defeated by it, rather than
simply ground down by it. this is not to suggest a softening of Yang's
formal rigour (there is none of the saccharine miramaxmusic of 'Yi yi' for
instance), but in this case it is poignantly counterpointed by the
characters, used to express their predicament, rather than a more abstract
theme. Yang's greatest strength is the way he can turn a teeming city into
an empty dreamscape, or turn the familiar everyday into something uncanny
moonlight. He could almost be a Surrealist.
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