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Platform
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List Price: $29.95
Our Price: $26.99
Your Save: $ 2.96 ( 10% )
Availability: Usually ships in 24 hours
Manufacturer: New Yorker Video
Starring: Hong Wei Wang, Tao Zhao, Jing Dong Liang, Tian Yi Yang, Bo Wang
Directed By: Zhang Ke Jia
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Average Customer Rating:  
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Aspect Ratio: 1.85:1
Audience Rating: NR (Not Rated)
Binding: DVD
EAN: 9781567304213
Format: Color
ISBN: 1567304214
Label: New Yorker Video
Manufacturer: New Yorker Video
Number Of Items: 1
Publisher: New Yorker Video
Release Date: 2005-08-16
Running Time: 150
Studio: New Yorker Video
Theatrical Release Date: 2000
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Editorial Reviews:
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""One of the most important directors working today." —Dennis Lim, The Village Voice "Essential Viewing... One of the most impressive Chinese films I’ve ever seen." —Jonathan Rosenbaum, Chicago Reader "Expansive and undeniably brilliant." —Ken Fox, TV Guide Online The masterpiece of the New Chinese Cinema, Jia Zhang-ke's monumental Platform spans the turbulent 1980s by following four performers in the state-run Peasant Culture Group. Based in Fenyang, the director’s hometown in the remote western province of Shanxi, these "art workers" praise the late Chairman Mao with approved revolutionary classics. When Deng Xiao-ping institutes an "open door" cultural policy and China begins to move toward Western-influenced consumer capitalism, the newly privatized group starts to sport spandex and play electric guitars. It’s sex, cigarettes and rock-n-roll… until dreams are deferred. Platform, the precursor to Jia’s Unknown Pleasures, offers vivid insight into modern China. Rich in detail and beautifully shot, Jia’s epic yet intimate film exquisitely conveys a sense of time passing and ineluctable change. "
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Spotlight customer reviews:
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Customer Rating:
Summary: Saw it 8 years ago and I still think about it!
Comment: This is a truly magnificent film... if you're a fan of a certain kind of film. As the title of my review should make clear, the movie really had an impact on me. To this day I find myself thinking about some of the emotional responses in triggered while I was watching it.
It is a slow film (my wife fell asleep during it and she's a fan of many slow arthouse films) and only when looking back at it do you see that it does have a plot - but it certainly isn't a "plot" based movie. Nor is it a rich, sumptuous, colorful, lyrical film like Wong Kar Wai or even Terrence Malick. It's a character piece that unfolds with (upon later reflection) intricately designed and evolving camera work. It's not a flashy film by any means but I found that it had so much to say - and so deeply moved me by the end - that I can't forget it.
Zhangke Jia is one of the most important Chinese filmmakers and so it's also worth watching if you want to see the defining figure of the 6th generation ( (I think he's 6th generation - a Chinese cinefile will correct me if I'm wrong) of Chinese cinema.
Customer Rating:
Summary: An ambitious and superbly done work
Comment: I've seen this 2000 film many many times in the past year or so, though only viewed from my sorry laptop screen, and therefore some of the photographic qualities in the frequent long shots and long takes must have been seriously compromised. Still the play of a rich and varied sound/song/music against the captivating images are masterfully constructed by the prodigious director. The occasional use of black screen and silence are powerful. We see fathers again and again. This film is dedicated to his father, according to the film caption. Though the main characters and actions are limited to a small county performing troupe, this is the most heart-felt, honest, yet quietly resistant/resilient Chinese film about life of youth at the margin of a rapidly changing society in the 1980s, condensed in 2 hours and 40 minutes, framed at a relatively remote and inland yet probably more truthful and typifying location. My main disappointment about it is the absence of events of 1989, though it seems to be alluded in the film from a broadcasted public security bureau notice about some fugitives. This hole/gap may refelct a taboo in Chinese filmmaking, or a tacit statement of the director? But "Platform" is much more ambitious compared to his much acclaimed earlier masterpiece "Xiao Wu," and his later work "Unknown Pleasure," which also deal with small town life in the late 1990s and early 2000s respectively. I cannot help comparing it with Edgar Reitz's 25-and-1/2-hour epic "Heimat 2," which, released in 1992, portrays life of young students and artists and intellectuals in Munich, Germany in the 1960s. And I can't stop wondering what happened or can happen filmically between/beyond "Heimat 2" and "Platform," between leaving home and being at home, between 1960s and 1980s, between 1968 and 1989, between Munich and Fengyang, Shanxi (which is not too far from my birth place), between German and Fenyang-accented mandarin Chinese, between experimental electronic music and Chinese pop/folk songs, between cello and accordion, between first love and the vow "never love again," between first love and first love, between first love and marriage, between Heideger's "Being and Time" and Mao's little red book and Mao's poetraits, between forever-present austere father and absent or dead father, between mother and father, between college-educated and uneducated... I hope to view it on a supersuper large and HD sceen someday in the near future.
Customer Rating:
Summary: slow and slow!
Comment: The cover implies colour and movement. There is little. The pink girls are on the cover only and must have been deleted! I like chinese cinema but this one really disappoints. Strangely lacking in any close ups at all it is difficult to recognise let alone identify with any character. The plot is sooo slow and dreary. I did buy this largely on the strength of the previous reveiw which is very misleading. Avoid!
Customer Rating:
Summary: Incredibly slow paced, incredibly provocative, incredibly understated
Comment: The movie has almost no plot and almost no character development. There is no action. The camera work is typically from a distance with a fixed camera, creating a very static image. It is a very slow-paced movie, it makes Kore-eda's films seem like Hollywood action flicks in comparison. And it is an incredibly powerful, provocative, gripping movie. Any "flaws" in the movie are clearly purposeful, contributing to the movie's overall effect.
The movie follows a group of young theatre and dance performers from 1979 through the 1980s, and uses them to explore the enormous cultural shift in China from 1979 through the 1980s. They are performers in a small city, with desire for change, to progress. We follow them through the 1980s as the cultural upheavals change their world, and yet they are still trapped. The one scene that best captures the theme of the movie occurs when they are in a bus that has broken down in a desolate location. They hear a train, a sign of progress, of movement, and a connection to the greater outside world. Some of them had never heard a train before, they cheer with excitement and rush towards the train tracks. The train rushes past them, leaving them the same, stuck with their old, broken down bus.
The individual identities of the characters seems unimportant, and purposefully so. We get a sense of lack of not only individual autonomy but also individual identity. The characters are swept along in the currents remaking China, with little control not only over their actions but even over their desires. The camera work further distances us from the characters and their internal thoughts and feelings. There is no character development, further reinforcing the lack of identity and the lack of progress for the individuals. There are tremendous development in clothing, in music, in attitudes, as their environment is completely turned upside down, and yet their lives do not really change. The movie seems to give an incredibly sense of reality, capturing that time and place. The camera work is interesting, often able to create tremendous tension without using the standard gimmicks.
Much of the movie is very subtle and understated. You probably have to be Chinese and to have lived in that environment to fully appreciate and understand the nuances. If you do not already know a good deal about Chinese culture at that time (including Taiwanese/Hong Kong pop culture at the time), than the movie is likely to be fully incomprehensible. But even though it was only partially comprehensible to me, I would still rank it as one of my favorite movies. As a final warning, the movie is completely different from movies by fifth generation Chinese directors (Chen Kaige, Zhang Yimou, etc). For better or for worse, do not expect a film like Farewell My Concubine or Ju Dou.
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