Lines of argument like what I’m about to get into are
usually the sorts of strawman burning matters that get people lynched on social
media for daring to voice it. But as I have already brought up this point in
previous reviews, it’s worth repeating: I don’t care about “whitewashing”
controversies when it comes to film casts. Or, at least, I don’t buy into them
nearly as much as critics have in recent years. The reasons why are many and
varied, from how people tend to cherry-pick examples to rage against to the
inherent hypocrisy involved in isolating only this instance (white actors
portraying non-whites) as a bad thing. But the biggest factor for my own
reasoning is that, considering the utter crap I’ve highlighted on this blog, I
can think of a myriad of worse sins that a filmmaker can commit than anything
involving ethnic (or non-ethnic) casting. So, imagine my lack of reaction to
how the only thing that anyone seems to discuss with this film is how a white
actor was cast as the lead in a film set in China and populated by and
primarily made by the Chinese. Time to dig in, and let’s see if there’s
anything else worth discussing.
The plot: William (Matt Damon), a European mercenary,
arrives with his comrade Tovar (Pedro Pascal) in China under the pretence of
trading. As they reach the legendary Great Wall, guarded by a Chinese army
known as the Nameless Order, they discover that the Order is in the middle of a
seemingly endless war against the Tao Tei, a race of monsters purportedly
brought to Earth as a means of cosmic karma. As William finds himself embroiled
in the conflict, he starts to understand that there are some wars that are worth
fighting in more than others.
The cast here is pretty top-notch, even if the English
dialogue can sound off coming from the Chinese cast. Jing Tian is quite
brilliant as the leader of the all-female Crane Troop of the army, embodying a
form of female agency that has been sorely missing from even the more
progressive films of late. Zhang Hanyu and Andy Lau as two of the higher-ups in
the Order add some pleasant regal tinting to the story, Willem Dafoe adds a lot
to the film’s war-torn subtext, even in his mainly expository role, and Pascal
creates a weirdly complex presence in the film as a rather simple and
unapologetically self-serving soldier. And then there’s Damon, who manages one
hell of a tightrope walk of serving as the (Western) audience’s entry point
while not overshadowing the characters that surround him.
Even with Trolls’ sugary palette still in my memory, this
is easily the most colourful film I’ve seen in a very long time. Director Zhang
Yimou’s knack for vibrant and popping colours is intact here, coordinated
amongst the Chinese soldiers to create some incredibly striking sequences.
Frequent Yimou collaborator Zhao Xiaoding and Stuart Dryburgh’s camera work is
also worthy of commendation, as the wide sweeping shots we see not only give
the narrative a real sense of scope and grandeur which aids the world-building
but also work to highlight how much detail has been put into the visuals…
practically, at least. The CGI work, primarily in depicting the Tao Tei, isn’t
as good. While part of me wants to defend how jarring it looks with the effects
work emphasising the difference between the fantastical
bordering-on-science-fiction monsters and the flesh and blood military, that
would only serve to ignore how it falls short in quite a few sequences.
If there’s anything here more visually enticing than the set
and costume design, it’s how they frame the action scenes. I can already tell
that the rest of the year will have to compete with this in terms of visceral
chops because the way Yimou utilises the pieces of the narrative, from the
specialised sectors of the army to the tightly-choreographed formations of both
the military and the Tao Tei, right down to the Wall itself, is simply
masterful. Hell, to further how Commander Lin shows real feminine strength, the
Crane Troop as a whole is easily the most badass of the entire Order and
watching them lay waste to the Tao Tei is quite exhilarating.
As for the story, this is pretty much the opposite of
everything that the kneejerk racist allegations this film has garnered have
depicted it as being. Damon’s presence within the plot, as a European mercenary
more familiar with petty squabbles for power and money, is rather important in
the grand scheme of things, especially when juxtaposed with the close-knit circle
of trust surrounding the Nameless Order. Arguments can be made about whether
there truly is a justifiable reason for war, but as it is portrayed here,
William and Tovar start out very much in the wrong. They aren’t white saviours because they are the ones who
have to be taught that their own ideals surrounding what people will fight and
die for are rather misguided. This also plays into the origin of the Tao Tei
themselves, combining a Chinese parable involving mortal greed with a sci-fi
entrance point that is eerily reminiscent of Aliens.
Through the story, rather than having the white main character spread his own biased gospel, he sees the army’s composition and values as something to be heralded. With the presence of black powder as the great weapon that the West is vying for, it all mingles together into an overall theme that, in stark contrast with the trailer reception, is about people from different backgrounds working together against a far greater threat. I’ve said it before and I’ll say it again: With how divided the West continues to get even with itself, this is the kind of story we need in cinemas right now.
Through the story, rather than having the white main character spread his own biased gospel, he sees the army’s composition and values as something to be heralded. With the presence of black powder as the great weapon that the West is vying for, it all mingles together into an overall theme that, in stark contrast with the trailer reception, is about people from different backgrounds working together against a far greater threat. I’ve said it before and I’ll say it again: With how divided the West continues to get even with itself, this is the kind of story we need in cinemas right now.
All in all, this is far and away better than its critical
preamble gives it credit for. The acting is very good, the visuals are very distinct
and appealing to the eye, the action is incredible and leads to some truly
awesome sequences, and the writing wields its setting and involvement of
foreigners (from the perspective of the Chinese director) to create a story
about the pettiness of war and just how much can be accomplished when people
work together, rather than try to outdo each other. Unless you’re so myopic
that you can’t look past Matt Damon’s casting, or possibly see it as a
demonization of either side's cultural values, chances are that you’ll find
plenty to like about this film.
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