I generally do not take motion pictures too seriously (although I fully respect artistic achievements in them). TFOAR has painted as favourable a picture of Mao Zedong as you can see anywhere. I do not have a problem with that, simply shrugging it off with "It's only a movie". And if it is going to do this anyway, the period covered by the movie would certainly be a good one to do it with.
On the other hand, this movie has come a long way from the heavy-handed political propaganda-type of movies usually produced by Mainland China. It is quite palatable, with what you can almost (but not quite) call minimalism approach. You do not find contrived vulgarization of the KMT or exaggerated glorification of the Communists. It fact, the first hour (i.e. about 2/5) of the movie was so much like a dull documentary that I had difficulty staying awake. But as it became more focuses and dramatic conflicts intensified, I got more and more interested.
The first thing you would notice is the almost complete absence of gritty battle scenes, particularly when the story is essentially about the military struggle between the KMT and the Communists for the control of post-WWII China. The focus of this movie is on the political background, with characters and dialogue aplenty. The fateful, decisive Wei Hai Battle is all but briefly mentioned, after which the mood turns even lighter. The changing point is a playful scene of two official photographers setting up their camera at the unassuming entrance of a humble house and capturing the arrival of key personalities (a complete "who's who") to a meeting that sets the course of the founding of the PRC.
The ominous elements is given almost exclusively to the KMT side, focusing mainly on Chiang Kai-shek who is depicted, however, with surprising generosity. The several scenes between him and his son Cheung Ching-kuo verge on tenderness, while the latter is even given an impeccably heroic persona. The only really dark side is Chiang Senior's order to secretly eliminate over a dozen Communist supporters on the eve of his fled to Taiwan. The harshest moment on the Communist side is, ironically, at the most glorious juncture, the victors' procession into Beijing. The rousing reception is led by an "old soldier" (not literally in age) portrayed brilliantly by the inimitable Liu Ye, representing an army that suffered horrendous casualties. The bitterness in this old soldier's dramatic salute in left for the audience to interpret.
Overall, however, the movie bathes in a light, almost cheerful, atmosphere, which is totally understandable as it is made to celebrate the 60th anniversary of the foundation of the PRC. Who would want to recall blood and pain on a birthday party? It concludes with the "soft" history of the selection of the national anthem and flag for the new republic.
The single most remarkable thing about this movie is Tang Guoqiang who has made a career out of portraying Mao. When, in the inserted newsreels, the real Mao appears, you wouldn't think it's a different person from what you see in the movie. He is just that good. In this movie he did a marvellous job in bringing out the charisma of this charismatic leader.
It would be a sin not to mention the two women in this movie, Xu Qing playing Soong Ching-ling (Madam Suen Yat-san) and Vivian Wu Soong May-ling (Madam Cheung Kai-shek). While I am not familiar with Xu, her grace and poise I simply cannot think of another actress that can match. But my own favourite is Vivien Wu who would be better known to the global audience and played the same role in "The Soong sisters" (1997), but at a younger age. These two complement the superb performance of Tang and brighten up this movie. As to the huge cast of cameos of who's who in the Chinese movie scene, more than enough has been said, especially by incompetent movie reviewer who don't know what else to say.
On the other hand, this movie has come a long way from the heavy-handed political propaganda-type of movies usually produced by Mainland China. It is quite palatable, with what you can almost (but not quite) call minimalism approach. You do not find contrived vulgarization of the KMT or exaggerated glorification of the Communists. It fact, the first hour (i.e. about 2/5) of the movie was so much like a dull documentary that I had difficulty staying awake. But as it became more focuses and dramatic conflicts intensified, I got more and more interested.
The first thing you would notice is the almost complete absence of gritty battle scenes, particularly when the story is essentially about the military struggle between the KMT and the Communists for the control of post-WWII China. The focus of this movie is on the political background, with characters and dialogue aplenty. The fateful, decisive Wei Hai Battle is all but briefly mentioned, after which the mood turns even lighter. The changing point is a playful scene of two official photographers setting up their camera at the unassuming entrance of a humble house and capturing the arrival of key personalities (a complete "who's who") to a meeting that sets the course of the founding of the PRC.
The ominous elements is given almost exclusively to the KMT side, focusing mainly on Chiang Kai-shek who is depicted, however, with surprising generosity. The several scenes between him and his son Cheung Ching-kuo verge on tenderness, while the latter is even given an impeccably heroic persona. The only really dark side is Chiang Senior's order to secretly eliminate over a dozen Communist supporters on the eve of his fled to Taiwan. The harshest moment on the Communist side is, ironically, at the most glorious juncture, the victors' procession into Beijing. The rousing reception is led by an "old soldier" (not literally in age) portrayed brilliantly by the inimitable Liu Ye, representing an army that suffered horrendous casualties. The bitterness in this old soldier's dramatic salute in left for the audience to interpret.
Overall, however, the movie bathes in a light, almost cheerful, atmosphere, which is totally understandable as it is made to celebrate the 60th anniversary of the foundation of the PRC. Who would want to recall blood and pain on a birthday party? It concludes with the "soft" history of the selection of the national anthem and flag for the new republic.
The single most remarkable thing about this movie is Tang Guoqiang who has made a career out of portraying Mao. When, in the inserted newsreels, the real Mao appears, you wouldn't think it's a different person from what you see in the movie. He is just that good. In this movie he did a marvellous job in bringing out the charisma of this charismatic leader.
It would be a sin not to mention the two women in this movie, Xu Qing playing Soong Ching-ling (Madam Suen Yat-san) and Vivian Wu Soong May-ling (Madam Cheung Kai-shek). While I am not familiar with Xu, her grace and poise I simply cannot think of another actress that can match. But my own favourite is Vivien Wu who would be better known to the global audience and played the same role in "The Soong sisters" (1997), but at a younger age. These two complement the superb performance of Tang and brighten up this movie. As to the huge cast of cameos of who's who in the Chinese movie scene, more than enough has been said, especially by incompetent movie reviewer who don't know what else to say.