The Cinema of Ang Lee by Whitney Crothers Dilley
Requirements: ePUB Reader, 18.2MB
Overview: ANG LEE HAS been referred to as an auteur and it is not difficult to see why—he is an artist with his actors, and seems to draw amazing work out of his cast, from the smallest to the greatest, while continuing to reiterate common themes of family, culture, and identity in an astonishing variety of genres. Keeping in mind that he has made films in Mandarin Chinese, Taiwanese, British English from the time of Jane Austen, high-school drop-out cowboy English, American English from the Civil War era, and 1960s American hippie slang—with six languages (Mandarin, English, Japanese, Hindi, Shanghainese, and Cantonese) represented in Lust/Caution (Se jie, 2007) alone—this is no small feat. He has drawn performances of the highest quality out of actors as diverse as Kevin Kline, Joan Allen, Chow Yun-fat, and Tony Leung, as well as defining and prodigious early work from a young Tobey Maguire, Christina Ricci, Katie Holmes, and, at 19, Kate Winslet and Zhang Ziyi. As Jake Gyllenhaal reflected after the making of Brokeback Mountain (2005), Ang Lee is also “fluent in the language of silence.”2 This has been proven by his films from his earliest 15-minute dialogue-free scene between Deb Snyder and Sihung Lung (Lang Xiong) in Pushing Hands (Tuishou, 1991), to the paean to noncommunication and 1970s angst, The Ice Storm (1997), and finally, to the tortured secrets of repressed souls in Brokeback Mountain. Indeed, the use of silence is so effective for this director that the last fifteen minutes of The Ice Storm were virtually a silent movie; similarly, 16-year-old first-time actor Suraj Sharma had to carry much of Life of Pi (2012) with nothing but a blue screen to share his soliloquies.
Genre: Non-Fiction, Film Criticism
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