GONE WITH THE BULLETS

China/Hong Kong, 2015, 120 minutes, Colour.
Jiang Wen, Ge You, Zhou Yun, Shu Qui.
Directed by Jiang Wen.

This film is quite an experience, although many audiences at the Berlin Film Festival Press Show, left halfway through. While it is on the screen, it is difficult enough to follow – but, if one reads the synopsis, the characters and events all fall into place.

The film has some historical background, the transition from the Empire to the Republic and the consequences for individuals, for the Empress and her advisers, for the warlords who now abounded and were creating nations for themselves, their own structures and government, as well as finance and corruption.

There is a competition in the film for courtesans from around the world – which is based on actual events.

The story is told from the point of view of a conman who claims that he was an adviser to the Empress, but was drunk when the transition took place and so lost his position, concentrating on frauds. In an opening scenes reminiscent of The Godfather , he listens to a young man who is upset that his warlord family has “new money” while he wants the respectability of “old money”. The conman and his friend – who was later to become an antagonistic police chief – decide to launder the money with the huge spectacle of the courtesan competition.

This film acknowledges film genres, not only The Godfather, but American musicals, especially those designed choreographies of Busby Berkely. And there is considerable tribute to opera, Puccini and Verdi, La Boheme and La Traviata. And Grieg features in the soundtrack.

There are quite some complications with the conman, his attraction to a woman who is found dead in next to him after a drug night, his imprisonment, the making of a black-and-white film (this is also based on fact) in which he stars, recounting the events of his life. A young socialite woman, with the disapproval of her parents, is in love with a conman and this leads to some final decisions and heroism.

The film was directed by Jiang Wen. His films are diverse, The Sun Also Rises as well the comedy and action of Let the Bullets Fly. He further enjoys himself by playing the central role in all its comic and serious complexity.

1. The title, expectations, of action? Expectations belied?

2. The film based on actual events? The history of China, the Emperor, the change to the Republic? The warlords and their creating their own nations? The history of the competition for the courtesans? The history of the student and his killings? China in the 1920s?

3. Shanghai, cosmopolitan, money, the problems, control, decadence?

4. The re-creation of the period, the city, the buildings and streets, the lights? The spectacle of the competition, the music and performances? Life in the city? The insertion of the old black-and-white film? The personal dramas? The French section of the city? The musical score, songs, Grieg, I’ll Take The High Road, Puccini, La Traviata…?

5. The influence of cinema, the opening interview and reminiscences of The Godfather? The Busby Berkely musicals and tap dancing, the chorus girls? The silent film black-and-white?

6. Ma Jouri, his story, the Empress, drinking, the influence, the cutting of the pigtails? His losing his status, becoming a conman, his lies, the stories and the tangles? His love, the murder, the black-and-white film, his policeman friend, pursuing him, imprisoned, the young woman in love with him, her family against him? Allowed out, his final actions?

7. The young man, his pleading with Ma Jouri, ultimately, it is wanting to get rid of his new money? Ma Jouri and his friend? Spending big, the competition, lavish, the spectacle of the musical numbers, the opera, broadcast throughout the world? The message to the Ukraine the peace? The donation to charity? The girls? The chorus?

8. The girl’s death, the parting of the ways with his friend, police ambitions, risen?

9. The making of the movie about the incidents, its style?

10. The system, the clash with her parents, love for Ma Jouri, the socials? The parties, the denunciations?

11. The end, love, self-sacrifice?

12. A kind of bizarre and avant-garde entertainment?