Lu Chuan's startling debut film was the innovative and very entertaining "The Missing Gun". He followed this up with the magisterial eco fable "Kekexili Mountain Patrol", which showcased a burgeoning talent for sweeping cinematography. He then stepped up to make the big budget "City of Life and Death", the epic story of the infamous "Rape of Nanking". Many a talented director weaned on smaller budget movies has crashed and burned with the greater demands required of the epic. Thankfully Lu Chuan is not one of those, and has enhanced his reputation further in the West, if not in his Chinese homeland where the sympathetic treatment of one Japanese soldier caused controversy. Such is still the anguish to the Chinese psyche at the mere mention of Nanking even to this day.
The film commences at the fall of the great Chinese city to the Imperial Japanese army. This signals the commencement of an orgy of violence on a biblical scale. Those of a sensitive disposition might be advised to steer well clear of this film as it does not shirk from depicting many of the atrocities committed, which makes both for compelling and harrowing viewing. We follow the lives of individuals from both sides in this barbarous cauldron, where life can be very cheap indeed. At times you are inevitably reminded of the horror of the holocaust, with the stream of slaughterhouse like images that assail the senses. If the film sets out to shock, then it certainly achieves its aim.
The film is aptly made in a stark black and white which is appropriate given the sombre subject matter. Some of the images are beautifully composed, with powerful cinematography. Lu Chuan manages to avoid the pitfalls of sensationalising the violence, which is filmed in a matter of fact way, showing the scant regard for life and the arbitrary nature of the killing fields. The well documented atrocities committed by the Japanese in Nanking were even worse than the film depicts, it should be added. A special mention should be made of Hideo Nakizumi's towering performance as the controversially sympathetic Japanese Sergeant Kadokawa. He is at the centre of some of the films best scenes, especially in the films immensely powerful ending.
Lu Chuan has made a brave decision, in trying to make a film about such an appalling piece of history. There have been many films to highlight "Man's inhumanity to Man", and any director would be challenged with such volatile material, but Chuan has ridden the whirlwind and made a very fine film, although one you may not wish to see more than once. He is a director who has the armament to forge a glittering career, and perhaps even match some of the old Japanese masters of cinema. I look forward to his next film with great anticipation.