“Everything will be fine when the sun rises.” The lines speak volumes of Zhang Yimou’s most recent feature. Cliff Walker, an action-spy thriller, is a new cinematic overture for Zhang, which carries heavy nationalistic and stylistic subtexts. The films present and dramatize the 1930 Chinese occupation in Manchu territory and the city of Harbin. The plot centers around professional soviet-trained spies back in their homeland and trying to complete Operation Utternya (Dawn) and save Wang Ziyang, who is the only survivor of Japanese secret killing grounds. The plots, subplots, top-notch acting of a first-class ensemble, cinematography, set design, and production all have the hallmark of Zhang’s autership with a few deviations and changes primarily visible.
The film has all the elements of the thriller spy genre. A group of secretive communist spies back save their homeland and expose the ugly truths from traitors. First, the heroism themes are abundant, which contrasts this Special Unit’s sacrifices against the murderous Japanese-applied government forces. Second, the twists and suspense are meticulously interwoven, even though Zhang has not shunned violence, death and gore. In this vein, the one aspect that viewers could sense to be overtly presented is the climax and driver of the plot. Operation Utternya is hinted at but then revealed in the first half of the film. Zhang’s aesthetic choice could have been a result of feeding the audience to some extent early on so that it can also construct the tragic but epic ending. Third, camera work is dynamic and cinematography superbly combines the visual, spatial and aural details to achieve these features. Interestingly and shrewdly, the feature color is white as depicted by natural snow.
This choice presents a multitude of symbolism to viewers. The hardship of weather and the noble task is easy to spot, sustained, and depicted till the end. The white feature of snow also carries the meaning of purity of beliefs and drives. One of the leading protagonist, who eventually get caught, tortured and make the final sacrifice, Zhang (Zhang Xianchen) hides under heavy snowfall to save the lives of himself and film’s main female protagonist, Lan (Zhang Lan), who survives the hardship and bravely leads the operation successfully. Further, the ending scene with the snow-covered road conjures up the freedom and path to liberty vied by characters and, by extension, the entire subjugated nation. Undeniably, the use of these formal aspects is ingenious, even though thematically, the binary it implies could be read propagandistically.
The film presents many other unique features. The historical reconstruction of locations in Harbin, such as Asia cinema, main streets and Martyr’s hotel, heighten the realism. Notably, the Cinema turns into the center of the spy operation, other subplots, and character crossing. In one final scene, Lin and the other lead character Wang (Qin Hailu), ultimately rejoin, watching Charlie Chaplin on the silver screen. One interpretation could suggest that Zhang views cinema and triumph of Good to be co-terminus, particularly in the context of China. As he moves away from his earlier social and martial art films, Zhang discovers another role for cinema, to expose the past atrocities and remain truthful to its artistic capacities. Another feature that catches viewers’ and critiques attention is superb acting that arguably trumps other features. The ensemble is well-known among Chinese cinema followers. Apart from two leading protagonists, Wang and Lin, Yu (Zhou Yi), Wang (Zhu Yawen), Wang (Qin, Hailu) and Chief Manchu Inspector (Ni Dahong), and the other minor cast put forward a fantastic performance. Each acting is uniquely portraying a particular archetype of revolutionaries and tandem for a collective and unified set. The one instance which depicts Zhang’s mastery and their contribution is when the two comrades- Jin and Zhou suspect and confront each other in the car, chasing Lin, who was expected to visit. The meticulous facial expressions, edgy dialogues, and excellent camera work of aerial shots and alternating shot-counter shots convey the feelings of betrayal, fragility, strength, and feebleness of characters and themes of survival, patriotism, and salvation under duress.
Cliff Walkers has already received positive pre-screening responses back in China. Expectedly it resonates with the Chinese audience who crave new features from the veteran of their national cinema. Zhang combines his old skills of depicting slices and malice of Chinese history with experimentation with a new generic mode in Cinema. In doing so, Zhang does not over-dramatize and present a revisionist history. Nevertheless, beyond the ubiquitous white imagery, stellar acting, optimistic tone, and nationalistic references and grievances, Zhang Yimou can pay more tribute to cinema while directing an unconventional story.
Score: B+
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