Claysaba
Excellent, Without a doubt!!
Contentar
Best movie of this year hands down!
Dirtylogy
It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.
lasttimeisaw
French filmmaker Jean-Jacques Annaud's China-France co-production is his third enterprise tackling with human-animal equilibrium, after THE BEAR (1988) and TWO BROTHERS (2004), WOLF TOTEM is adapted from a popular semi-autobiographical Chinese novel of the same title and is shot in the majestic Inner Mongolian steppe. During China's Cultural Revolution, in 1969, two students from Beijing, Chen Zhen (Feng) and Yang Ke (Dou) are assigned to the steppe to teach local Mongolian nomads Mandarin and smooth the process of cultural integration. They are under the aegis of Bilig (Mijid), the head of the nomads, a sage mind who inculcates them the precept of the balanced co-existence between mankind and indigenous wolves. But, a pervading human force of greed and self-seeking would soon disrupt the well-maintained balance, wolves are deprived of their sustenance and during one blizzard night, driven by hunger, they attack a horde of horses and result in great casualty, including Bilig's son (although it is an accident). Retaliation is conducted under the command of an apparatchik (Yin), many wolf cubs are perished for the sake of their skins, but Chen saves one cub, secretly raises it like a pet and attachment grows. As often, one considers him or herself doing a good deed would only realise later in the stage it is a mistake, domesticating a feral wolf isn't something worth commending, and it is noteworthy that Annaud doesn't vindicate Chen's behavior by stating that the cub is bereft or in somewhat danger, Chen's behavior is solely out of his own soft spot, with no regard of the consequence for the cub itself, only after Bilig's sensible advice, Chen would right his wrongs to prepare and train the young wolf for its return to its natural territory, and one should remember, it is always a rookie mistake trying to extract a trickle of humanity out of the wild creatures, mutual connection might be able to achieved, but don't belabor yourself with any illusions of any reciprocal gestures. The stand-off between humans and wolves will reach its heroic climax after the ravenous wolf pack assails a sheep corral during one night and this time, the entire pack is almost being extirpated by bullets and unrelieved vehicle chase, witnessed powerlessly for Chen, if anything, powerless is the omnipresent feeling, wherever humans tread, there are black sheep undermining the natural grandeur and harmony, disasters are bound to ensue, a central message cannot be dissipated by the film's lugubriously concocted positive vibe in the end. It is a big relief Annaud doesn't settle for facile wishful-thinking or radical aggression in its tonality, so that the film manage to retain an organic slant which conforms with his previous similar oeuvres. The striking animal stunts orchestrated by dexterous trainer Andrew Simpson greatly hone up the set pieces, especially against its ferocious surroundings (the scenes of frozen animal corpses are manifestations of the primordial power of nature), and it goes without saying the film is a continuous landscape-porn (plus two emphatic examples of cloudscape), although sometimes its immaculateness unfittingly instigates the suspicion of an overachieved CGI-preening during the post-production. The human cast understandably takes a back seat from its awe-inspiring canine counterpart, but the dialogues sound clunky to a Chinese ear, and the character development barely exists, since when Chen and Gasma (Ragchaa), the widow and daughter-in-law of Bilig, become an item? The emphasis is so top-heavy on Chen and his wolf cub, which makes the romantic subplot comes off as abrupt and fluffy. In the main, WOLF TOTEM doesn't shortchange its forte: the spectacular vista and pulsating action sequences, and it also circumspectly bypasses the sensitive political agenda (the film was a mammoth box-office player two years ago during the golden spell of Chinese Spring Festival) and allows the story itself to stimulate reflections on a broader picture: human vs. nature, simply within ecological parameters.
Reno Rangan
A semi biographical adventure-drama from China directed by the French director known for 'Seven Years in Tibet'. He was chosen after many Chinese filmmakers refused to take the project, because of the dedication it required. The film highlighted the outcome of the two ethnic groups, Mongols and Hans overlapping with the mother nature. The film should have been one of the best in the line of 'Siberia Monamour', but there a few things that did not work in its favour.It was just like the 'Embrace of the Serpent', based on a person who went to a distant place with a motive, but learnt another thing. Especially realsing the value of the native people and their land and culture. The main character was totally resembling to the Brad Pitt's role from 'Seven Years in Tibet' and very inspiring. You learn nothing by observing afar, you have to get in and get along to gain knowledge of the place. So you have to be one of them in order to see through their eyes of the place and then would find its true identity.The tale begins in the late 60s during the China's cultural revolution. Two young students from Beijing sent to a remote place in the Inner Mongolia to teach the locals read and write. Instead, one of them gets interested in wolves and decides to study them by raising a cub. During that time, the confrontation between the wolves and for the human encroachment of their natural habitant determines the future of the grassland. The ultimate face-off between them ends with the emotional."The problem for us Mongols is that our history wasn't written by us, but mostly by our enemies."When you don't belong to that place, you should not intervene in its natural order. The China's history is always bad when it comes to the land grabbing, either it is the ongoing South China Sea dispute or the Tibet and thousands of others. This is such a film made by China itself that spotlights their wrongdoings. Just see the film to know how much different the Mongolian, especially the nomad culture and the Han-Chinese. They' both saw the mother nature with different intentions. So imposing one land's rule to another does not work and that's the film's most important message.Very sad the film was not realistic since it was based on a real story. Visually it was very good, especially the locations were spellbinding and used so well to tell a story, but the animal behaviours were too silly, something like that happen in the children's stories. Then there's evidence the animals were harmed during making it, so feels uncomfortable in many scenes and I won't advise kids to watch it if they're very fond of the animals. In that angle this film got a completely a wrong motion picture rating. If you are a light hearted, you should as well turn away from it. Because even though they won't show the killings, in a few segment they were just graphics and make-up, but still you are definitely going to feel the pain, very disturbing film.In a few scenes, feels bad for what Mongols regrets for letting the Hans to do all the terrible things to their land despite at one stage of the history they were more superior than them. At least the film ended on a positive note, only because of the alteration in the screenplay from the controversial book. It was originally selected to represent the previous Oscars, but soon it replaced with another to avoid the International humiliation. I think the film was not that terrible, but not being true to the book was the issue. It is very hard to suggest it, it might upset you for the various reasons, so all I can say is choose wisely.6/10
siderite
I know the name of Jean-Jacques Annaud from The Bear, a movie that made his name a lot more memorable to me than The Name of the Rose, another movie I loved and that he directed. In The Bear, the main character was a little bear cub and any humans in the film were mere secondary characters. The things that film did with animals was nothing short of miraculous.In this Chinese-French coproduction, there are a lot of wolves and talk about wolves and people getting angry about wolves or loving them, but they are not the main characters. Relegated to the subject of a conversation, wolves play a minor part in this film that doesn't seem to know what it wants to be. It shows a little bit of Chinese Cultural Revolution, but not enough to be of any relevance or warrant the wrath of Chinese authorities. It shows the free way of the Mongols living in the steppes, but it doesn't go in depth. It shows some beautiful wolves, but most of the time they just look pretty and don't do much. It shows men in love with women, but it never goes into romance territory. It shows city boys being schooled in the ways of the steppe, but it doesn't really make anything of it.The acting was good and so was the direction, I guess. The wide views of the green steppe were beautiful (until the mosquitoes arrived). Yet most of the time is seemed like a fairy tale, lacking a truth that I am not aware of, but that felt like it should be different.It is not that I didn't like the film, but after two hours of going back and forth between genres, alternating between hating the Communist director who doesn't understand the life of the land and hating just about everybody else for their pretentious stupidity, I was actually bored.
Ryan Prince
-Wolf Totem (2015) movie review: -Wolf Totem is a Chinese film, made by the French director of Troy, based on the novel (based on a true story) following two Chinese students staying in a modern (1960s) nomadic group of Mongols who raise horses and sheep. They live in a somewhat dangerous area inhabited by Mongolian wolves, so when a corporate residential manager decides to essentially steal food from the smartest species of wolf on the planet, the wolves are forces to get into a turf was with the Mongolian shepherds. It is like the set-up for The Last Samurai if the samurai were the wolves.-This ambitious endeavor paid off with a massive visual appeal, fantastic production value, and an incredibly emotional story. It was quite a great film.-I'll go ahead and say this, if you don't like animal deaths or tragedy that might come with said true events surrounding the decline of two impressive races, Mongolians and Mongolian wolves, you will not enjoy this film. However, the story is well told and filled with smart writing to drive the point home and beyond. You will get more that you bargained for.-The film takes a short while to really pick up, but it has a good pace for most of the film.-The acting is very good. I do not know any of the actors or wolf actors in it, but the actors did a compelling job and the wolves were so much better than just having stock footage of wolves.-The characters offered a lot to the story. Each character represents a human trait in a way. The main character, Chen Zhen, offers the hope in humanity and the attempt to see the best during dire situations. His best friend character is more of the ambitions, progressive look at those people who just don't care. There is the village leader, who represents the old ways and greatness of tradition. And of course, the sorta-villain who represents everything wrong with change and industrialization.-The music is the best thing about it. James Horner composes one of his best, most beautiful, and most heart-string-pulling scores. It was actually how I found this film in the first place.-Again, the design on the film is visually stunning. Very good practical effects, cinematography, and impressively good wolf training. Fun fact: This project was turned down by every major Chinese director because they thought it too difficult to train Mongolian wolves.-It is an emotionally draining film and the true story makes it even harder to enjoy, but it is truly a compelling, well made, beautiful film that I think is totally worth checking out! -Wolf Totem does not have a rating, but it has a PG-13 amount of violence and language, so I would say PG-13. Makes sense.
