Its humor springs from a kind of roguish discretion.
THE GREAT WALL MOVIE SOUNDTRACK MOVIE
The movie is politic without being too political. Each of his quiet camera shots conveys a tranquil, rich mood and atmosphere. Wang also has a fine sense of place and a rare ability to reveal character through decor. venereal disease statistics or the status of Luciano Pavarotti (who, due to local censorship of rock ‘n’ roll, is believed to be America’s reigning pop music star). He’s always alert to cultural anachronisms: Chinese confusion about U.S. Like actor Wang, writer-director Wang never forces anything. He’s got a fey Chaplin quality, leavened with characteristically Chinese earthiness and pragmatism. His comic touch, like his facial expressions, is askew and elfin. You might remember Peter Wang as the wigged-out fry cook with the Samurai Night Fever T-shirt in “Chan Is Missing”, and, in “Ah Ying,” he was the visiting director from America, charismatic and reticent by turns.
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What follows is unsurprising but often remarkably pleasant. Chao (Shen Guanglan) are brother and sister, and after he gets an unplanned leave-by spilling coffee on his boss-they milk the West-East thaw for a monthlong reunion. Chao, played by Hi Xiaoguang, sometimes amusingly suggests Chairman Mao). The Chaos are thoroughly imbued in their own culture-though hints of westernization peek through in Li Qinqin’s daughter Lili (Mr. The Fangs are throughly Americanized (only Leo, the father, was born in China-and his son Paul refuses to learn Chinese, complaining that the classes don’t use Bugs Bunny). (They earlier collaborated on “New Treasures in Old China.”) Wang centers his tale on two corresponding families: the Fangs of San Francisco and the Chaos of Peking. “A Great Wall” was co-written and directed by Wang-and co-written and produced by Shirley Sun. Of such stuff are cliches of social consciousness definitely not compounded. Finally and irreverently, the movie ends with gas: The story’s climactic shot shows the blissful face of the lead character (Peter Wang as Silicon Valley engineer Leo Feng) as he caps his garden tai chi exercises with a whooshing intestinal exhalation.
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We get Chinese jazz-band renditions of “She’ll Be Coming ‘Round the Mountain,” touch football on the Great Wall and a rousing international Ping-Pong match. Instead, we get a gentle, often slightly racy culture-clash comedy that respectfully portrays and lightly satirizes both lands.
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It’s not a paralyzed, politically sanitized production with beaming Orientals escorting stalwart, friendly Americans around old Peking, photogenic multicultural youngsters joining hands and staring over the wall toward a new dawn of international brotherhood (accompanied by soft jazz and jing yuen da gu music). It’s not a super-historical spectacle with Charlton Heston as Gen. It’s not the kind of movie you’d expect from such momentous precedents. Here is the first American movie ever shot in Mainland China-an accomplishment which until recently might have required special diplomatic acts by both governments, if not an escort from the 7th Fleet.
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It has a few, but it’s fascinating all the same. There’s something so heartening, direct and charming about Peter Wang’s “A Great Wall” (at the Music Hall) that you can practically forgive it anything and ignore almost any flaws.