pgmele y PREACHER celebran la Navidad a su manera: La obra cumbre del cine mudo chino
LA GRAN CARRETERA (1935)
IMDb
Créditos:
TÍTULO: Dalu / The Big Road
AÑO: 1935
PAÍS: China
IDIOMA: Chino mandarín (canciones)
DIRECTOR: Sun Yu
INTÉRPRETES: Jin Yan (Jin Ge), Li Li-li (Jasmine), Chen Yanyan (Ding Xiang), Luo Peng (Little Luo), Zheng Junli (Jun Zheng)
ARGUMENTO: La construcción de una carretera es vital para que el ejército pueda repeler la invasión japonesa. Un grupo de seis jóvenes amigos se une a la obra y pronto traban amistad con las dos chicas de la cantina…
Camaradería, trabajo en equipo, humor, mujeres decididas… ¿No os recuerda al universo de cierto Maestro? No, no estamos en Hollywood. Estamos en China, China en guerra. La obra cumbre del cine mudo chino (y no me olvido de la sublime “La Diosa”) es también un musical (!) al estar parcialmente sonorizada, incluyendo varias canciones a lo largo del metraje. Es propaganda pero está llena de humanismo, es bélica pero emana calidez, es social pero afloran continuamente la sensualidad y el humor. Drama, comedia, guerra, musical, suspense, romance… todo es posible en “La gran carretera”.
En el reparto Li Li-li (Little Toys) y Zheng Junli (luego director de The Spring River Flows East y Crows and Sparrows).
Sun Yu climaxed his work in the silent cinema with Dalu (The Highway), filmed in 1934 and released in early 1935. His only concessions to the sound film are the inclusion of striking sound effects and the characters singing songs which express the spirit of the time. Dalu returns to the social urgency of Tianming and Xiaowanyi in its stated purpose of arousing the Chinese people to collective action in the face of impending aggression from Japan. But as with Sun Yu’s other films, Dalu is shaped by deeper concepts that ultimately transcend the immediate social goals. Sun Yu’s attention to characterization in this film continues to express his warmth and humanity and his admiration for strong women, while his imagery is suffused with sensuality and a love of nature. The narrative begins with scenes from the early life of a peasant victimized since childhood by China’s conflicts and, once he grows to manhood, soon swells to include other characters who share his experiences and, like him, embody the Chinese national spirit. Dalu thus becomes a cinematic epic of a nation united in purpose at a time when its very survival was threatened. The story concerns the building of a highway to be used by the army as a defense against a threatened Japanese invasion. The first half of the film delineates the interaction between the six laborers working together on the road and the two canteen girls who befriend them and is dominated by a light-hearted mood. The latter half becomes an exciting, suspense-filled adventure story as the heroes, imprisoned by wealthy landowners collaborating with the Japanese, stage a daring escape with the aid of the canteen girls. In the powerful conclusion, the protagonists are massacred by enemy aircraft firing on them as they work to complete building the road. But their sacrifice has not been in vain since the highway, a symbol of the resurgent Chinese nation, has been constructed. With its joyous humor and intense drama, its sensitivity to characterization, its brilliant technique--as in the elaborate camera movement across the landlord’s table in a banquet scene--Dalu is ranked as Sun Yu’s greatest masterpiece and a film reflecting Chinese aesthetics. As Li Cheuk-To notes, the film’s structure has the cyclical form of classic Chinese novels rather than the linear logic of Western narratives.
While "Da Lu" is a silent movie, it does have sound. This may seem contradictory, but Chinese film studios were in a transitional period between silent and sound, and sound effects (the roar of a tractor, the wind rustling tree branches, etc.) and music were added in post-production. There were several songs in the movie, including one by each of the girls that reflect their distinct characters: Mo Li entertains the restaurant patrons with a jaunty, but actually very sad song about her native village, devastated by natural disasters and warfare (as she sings, we see actual newsreel footage of horrific flooding); Ding Xiang, in a private moment with Xiao Luo, sings to him a simple ballad about birds and their freedom. The movie's theme, "Song of the Great Road," composed by the legendary and tragically short-lived Nie Erh, became a big hit in China, and is still included on any Chinese list of that country's classic movie themes.
In viewing a classic film it often helps to keep in mind the political and social context in which it was made, and in the case of "Da Lu" that context is very significant. On September 18, 1931, the Japanese Army invaded the Northeast China provinces collectively known then as Manchuria, and in 1932 set up the puppet state of Manchukuo, with Pu Yi, the deposed "Last Emperor" as its figurehead ruler. From that base, the Japanese continued making incursions into North and Northeast China. And yet the movie never mentions the Japanese by that name: it is always "the enemy". There is a reference to Manchuria being occupied by a foreign power, but it is "the enemy" doing it. The objective in building the road is to enable the Chinese Army to move troops to the front and battle "the enemy". In the final, climactic scene, the attacking aircraft are "enemy planes". In case any further hints were needed, in a scene showing the collaborationist landlord receiving his marching orders from an enemy agent, the latter is another Asian man who has to communicate through an interpreter.
This was due to the political environment at the time the movie was made. In 1934, the Nationalist Chinese government of Chiang Kai-shek (Jiang Jieshi) was following a policy of appeasement, an attempt to keep the Japanese at bay while the Chinese Army pursued its campaign to irradicate the Chinese Communists. It was not until 1936 that the "Xi'an Incident" took place, and Chiang was forced to make common cause with the Communists to oppose the Japanese. Although "Da Lu" was a national defense film, intended to arouse the Chinese people's patriotic feelings, going against official government policy by identifying the enemy might have resulted in the film's suppression.
El imperio de las sombras eléctricas (cine mudo chino)
Si recordáis, la versión que circulaba (TVRip by auess, subtítulos de Canaya) era bastante deficiente, incluso tenía un par de interrupciones publicitarias. Nuestro compañero pgmele nos ha conseguido la versión completa y yo, con gran placer, me he encargado de una nueva traducción.
Algunas capturas:
Datos técnicos:
Enlaces:
ed2k (VO en chino mandarín)
Dalu - The Big Road (1935).mkv [1.37 Gb] 
Subtítulos en español
Dalu - The Big Road (1935) esp.srt [23.7 Kb]
Subdivx
Subtítulos en inglés
Dalu - The Big Road (1935) eng.srt [22.6 Kb]
LA GRAN CARRETERA (1935)
IMDb
Créditos:
TÍTULO: Dalu / The Big Road
AÑO: 1935
PAÍS: China
IDIOMA: Chino mandarín (canciones)
DIRECTOR: Sun Yu
INTÉRPRETES: Jin Yan (Jin Ge), Li Li-li (Jasmine), Chen Yanyan (Ding Xiang), Luo Peng (Little Luo), Zheng Junli (Jun Zheng)
ARGUMENTO: La construcción de una carretera es vital para que el ejército pueda repeler la invasión japonesa. Un grupo de seis jóvenes amigos se une a la obra y pronto traban amistad con las dos chicas de la cantina…
Camaradería, trabajo en equipo, humor, mujeres decididas… ¿No os recuerda al universo de cierto Maestro? No, no estamos en Hollywood. Estamos en China, China en guerra. La obra cumbre del cine mudo chino (y no me olvido de la sublime “La Diosa”) es también un musical (!) al estar parcialmente sonorizada, incluyendo varias canciones a lo largo del metraje. Es propaganda pero está llena de humanismo, es bélica pero emana calidez, es social pero afloran continuamente la sensualidad y el humor. Drama, comedia, guerra, musical, suspense, romance… todo es posible en “La gran carretera”.
En el reparto Li Li-li (Little Toys) y Zheng Junli (luego director de The Spring River Flows East y Crows and Sparrows).
Sun Yu climaxed his work in the silent cinema with Dalu (The Highway), filmed in 1934 and released in early 1935. His only concessions to the sound film are the inclusion of striking sound effects and the characters singing songs which express the spirit of the time. Dalu returns to the social urgency of Tianming and Xiaowanyi in its stated purpose of arousing the Chinese people to collective action in the face of impending aggression from Japan. But as with Sun Yu’s other films, Dalu is shaped by deeper concepts that ultimately transcend the immediate social goals. Sun Yu’s attention to characterization in this film continues to express his warmth and humanity and his admiration for strong women, while his imagery is suffused with sensuality and a love of nature. The narrative begins with scenes from the early life of a peasant victimized since childhood by China’s conflicts and, once he grows to manhood, soon swells to include other characters who share his experiences and, like him, embody the Chinese national spirit. Dalu thus becomes a cinematic epic of a nation united in purpose at a time when its very survival was threatened. The story concerns the building of a highway to be used by the army as a defense against a threatened Japanese invasion. The first half of the film delineates the interaction between the six laborers working together on the road and the two canteen girls who befriend them and is dominated by a light-hearted mood. The latter half becomes an exciting, suspense-filled adventure story as the heroes, imprisoned by wealthy landowners collaborating with the Japanese, stage a daring escape with the aid of the canteen girls. In the powerful conclusion, the protagonists are massacred by enemy aircraft firing on them as they work to complete building the road. But their sacrifice has not been in vain since the highway, a symbol of the resurgent Chinese nation, has been constructed. With its joyous humor and intense drama, its sensitivity to characterization, its brilliant technique--as in the elaborate camera movement across the landlord’s table in a banquet scene--Dalu is ranked as Sun Yu’s greatest masterpiece and a film reflecting Chinese aesthetics. As Li Cheuk-To notes, the film’s structure has the cyclical form of classic Chinese novels rather than the linear logic of Western narratives.
While "Da Lu" is a silent movie, it does have sound. This may seem contradictory, but Chinese film studios were in a transitional period between silent and sound, and sound effects (the roar of a tractor, the wind rustling tree branches, etc.) and music were added in post-production. There were several songs in the movie, including one by each of the girls that reflect their distinct characters: Mo Li entertains the restaurant patrons with a jaunty, but actually very sad song about her native village, devastated by natural disasters and warfare (as she sings, we see actual newsreel footage of horrific flooding); Ding Xiang, in a private moment with Xiao Luo, sings to him a simple ballad about birds and their freedom. The movie's theme, "Song of the Great Road," composed by the legendary and tragically short-lived Nie Erh, became a big hit in China, and is still included on any Chinese list of that country's classic movie themes.
In viewing a classic film it often helps to keep in mind the political and social context in which it was made, and in the case of "Da Lu" that context is very significant. On September 18, 1931, the Japanese Army invaded the Northeast China provinces collectively known then as Manchuria, and in 1932 set up the puppet state of Manchukuo, with Pu Yi, the deposed "Last Emperor" as its figurehead ruler. From that base, the Japanese continued making incursions into North and Northeast China. And yet the movie never mentions the Japanese by that name: it is always "the enemy". There is a reference to Manchuria being occupied by a foreign power, but it is "the enemy" doing it. The objective in building the road is to enable the Chinese Army to move troops to the front and battle "the enemy". In the final, climactic scene, the attacking aircraft are "enemy planes". In case any further hints were needed, in a scene showing the collaborationist landlord receiving his marching orders from an enemy agent, the latter is another Asian man who has to communicate through an interpreter.
This was due to the political environment at the time the movie was made. In 1934, the Nationalist Chinese government of Chiang Kai-shek (Jiang Jieshi) was following a policy of appeasement, an attempt to keep the Japanese at bay while the Chinese Army pursued its campaign to irradicate the Chinese Communists. It was not until 1936 that the "Xi'an Incident" took place, and Chiang was forced to make common cause with the Communists to oppose the Japanese. Although "Da Lu" was a national defense film, intended to arouse the Chinese people's patriotic feelings, going against official government policy by identifying the enemy might have resulted in the film's suppression.
El imperio de las sombras eléctricas (cine mudo chino)
Si recordáis, la versión que circulaba (TVRip by auess, subtítulos de Canaya) era bastante deficiente, incluso tenía un par de interrupciones publicitarias. Nuestro compañero pgmele nos ha conseguido la versión completa y yo, con gran placer, me he encargado de una nueva traducción.
Algunas capturas:
Datos técnicos:
Spoiler:
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Dalu - The Big Road (1935).mkv [1.37 Gb] Subtítulos en español
Dalu - The Big Road (1935) esp.srt [23.7 Kb] Subdivx
Subtítulos en inglés
Dalu - The Big Road (1935) eng.srt [22.6 Kb] 
... pero, aviso, voy a hacer algo mu, pero que mu malo 
Los reyes, digo el cura, digo... GRACIAS 
pgmele
