Yi Yi - Criterion Collection

Yi Yi - Criterion Collection
by Edward Yang

Yi Yi - Criterion Collection
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DVD Cover Information

Actor: Elaine Jin, Issei Ogata, Jonathan Chang, Kelly Lee, Nien-Jen Wu
Director: Edward Yang
Brand: Image Entertainment
Cinematographer: Wei-han Yang
Writer: Edward Yang
Producer: Michiyo Sat?
Producer: Naoko Tsukeda
Producer: Osamu Kunota
Producer: Shinya Kawai
Producer: Wei-yen Yu
DVD: Region Code 1
Audio: English (Original Language), Dolby Digital 2.1; Japanese (Original Language); English (Subtitled)
Format: Color, Dolby, DVD-Video, NTSC, Subtitled, Widescreen
Picture Format: 1.85:1
Running Time: 173 minutes
DVD Release Date: 2006-07-11
Audience Rating: NR (Not Rated)
Studio: Criterion

Movie Reviews of Yi Yi - Criterion Collection

Movie Review: Brilliant
Summary: 5 Stars

"Yi Yi" is a brilliant Taiwanese film that chronicles the seeming dissolution but eventual restoration of the Jiang family. The premise of the story is that the ill health of the grandmother/mother of the family exposes the weakness and strain that each character faces. Beneath the facade of the intact family, each member strays along a path that is both solitary and unrelated to the rest of family life and that threatens the future integrity of the family itself.

The father NJ runs into an old sweetheart Sherry, ostensibly the one great love of his life, and is tempted to not only enter into an affair but possibly even abandon his family. The mother Min-Min sees her life as meaningless and empty due to the shock of her mother's condition and retreats to a Buddhist monastery for restoration. Ting-Ting, the lovely teenage daughter, gets involved in a potentially harmful love triangle through her friendship with a troubled next-door neighbor. Little Yang-Yang, the son, navigates the trials of school life with his new camera.

The adult characters are so focused on their own problems and desires that they are either unable to do much for the others around them, principally the grandmother, or are oblivious to how much their energy and attention are needed elsewhere. Ting-Ting and Yang-Yang both need their parents' active involvement, protection and guidance, yet the parents are too absorbed in their own needs to be much more than parents in title only.

The film depicts how perilously close the Jiangs come to tragedy, but how at the seeming brink of familial disintegration, a strong underlying commitment to family touched by a hint of supernatural intervention (Ting-Ting's last conversation with her grandmother), brings the parents at least back to their senses and commitments. Life remains painful, mysterious, and unpredictable, but the Jiangs are drawn back to each other in the end. The film ends with the funeral for the grandmother. If she was the rock that held the family together prior to her illness, now they will be able to survive her loss. Little Yang Yang speaks out what is probably the film's deepest message, the longing to understand what happens to our loved ones after death.

"Yi Yi" is a profound film in many respects and it would require several viewings do it justice. But even after one viewing I came away moved and impressed with its eloquent argument for human responsibility, celebration of family, and its mature and universal moral gravity. I am puzzled and pleased that the film has been lionized by critics and the international film world, folks who usually are pushing for excuses for us to abandon our families, break our vows, and worship self above all else. That "Yi Yi" moved many to consider another approach is a testimony to its artistry and intelligence. It is a superb work.

Summary of Yi Yi - Criterion Collection

With the runaway international acclaim of this film, Taiwanese director Edward Yang could no longer be called Asian cinema's best-kept secret. Yi Yi swiftly follows a middle-class family in Taipei over the course of one year, beginning with a wedding and ending with a funeral. Whether chronicling middle-aged father NJ's tenuous flirtations with an old flame or precocious young son Yang-Yang's attempts at capturing reality with his beloved camera, Yang imbues every gorgeous frame with a deft, humane clarity. Warm, sprawling, and dazzling, this intimate epic is one of the undisputed masterworks of the new century.
A wedding and a grandmother's illness reveal fault lines in the lives of one Taipei family in Edward Yang's extraordinary film. Yi Yi is built from deceptively simple elements that together create a complex, warm, and utterly convincing portrait of family life. NJ Jian is a businessman facing bankruptcy, but he has to juggle his financial problems with family strife when his mother-in-law falls into a coma. NJ's wife, Min-Min, brings her mother home, and each family member--including daughter Ting-Ting and her delightful little brother Yang-Yang--spends hours talking to the old lady. These conversations become confessionals and the characters gradually re-evaluate their relationships. There are no catastrophic conflicts, only the ordinary, sometimes troubled, unfolding of lives. Yang enhances the film's sense of reality by frequently holding the camera back from the action. The use of long shots and unexpected angles makes it seem like the audience is eavesdropping, catching glimpses of lives passing by. Yi Yi is almost three hours long, but it flies by. Yang is both a consummate, restrained technician and a subtle director of actors. The combination is a magical one. --Simon Leake

On the DVD
The Criterion Collection's newly restored high-definition digital transfer of Edward Yang's Yi Yi is a revelation. The improvement over Fox Lorber's previous DVD release (deeply flawed and rushed into distribution in 2001, and now utterly obsolete) is so dramatic that an entire article was devoted to the subject in the New York Times, explaining the meticulous processes that went into perfecting the new DVD master for Criterion's definitive release. And while the feature-length commentary by writer-director Edward Yang and Asian-cinema critic Tony Rayns may be a bit too low-key for some listeners (because both Yang and Rayns are soft-spoken and not particularly dynamic speakers), attentive listeners will benefit greatly from their back-and-forth conversation. Yang provides in-depth insights into many aspects of Taiwanese cinema in general and Yi Yi in particular, from the hardships of distribution, competition from American films, his casting choices, explanations of specific shots, challenges and "happy accidents" during production, and various details regarding Taiwanese culture, its relation to Chinese and Japanese culture, and the familial traditions that are so affectionately explored in Yi Yi. Rayns is basically on hand to prompt Yang into making directorial observations, or to provide critical insights and observations for Yang to respond to. Both men are genial, intelligent, and articulate, so their commentary is well worth listening to for anyone interested in Asian cinema in a cultural context.

Rayns is featured individually in an informative video interview in which the noted Asian cinema expert explains the historical context which brought about the "New Taiwan Cinema" movement in the early 1980s. He goes into deeper detail about Edward Yang's significance to the movement, along with other important Taiwanese directors such as Hou Hsiao-hsien and Tsai Ming-liang, and examines how Yang's films (especially Yi Yi) are particularly distinctive, notably in their use of urban settings, reflections, and distant, immobile camera angles to emphasize character and behavior. Film Comment editor Kent Jones further elaborates on the qualities of Yi Yi in his enclosed booklet essay (particularly Yang's exquisite use of Taipei locations and his subtle sensitivity to the rhythms of urban living in "a film about grace"). In "Notes from Edward Yang," the director provides additional printed comments about the film's title (which literally translates as "one-one" and means "individually" in Chinese), the challenges of casting, and specific details and milestones in Yi Yi's production schedule. Overall, these details should prove highly useful to western viewers seeking to gain a greater appreciation for Yang's highly regarded masterpiece. --Jeff Shannon

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