Jackie Chan Plans Career Exit in 5 Years
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Hong Kong Movies Cater More to China
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Latest Posters for Movie "Hwang Jin-yi"
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Actor Chow Lends Support to HK Heritage Battle
http://english.cri.cn/3086/2007/04/30/1221@222202.htm
Chow Yun-Fat, Daniel Dae Kim, Grace Park, Vivienne Tam and Nobu Matsuhisa Set to Appear at the 2007 AZN Asian Excellence Awards
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Mixed Martial Arts Athletes Gear Up for Documentary
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Use Xu Jinglei's Handwriting on Your Computer
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Anti-spitting Campaign Intensifies Over May Day Holiday
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CINEMA: Tsai soldiers on
I Don’t Want To Sleep Alone may be winning accolades abroad for director Tsai Ming Liang but local recognition is still slow in coming. SHARON WONG finds out why.
HE has won numerous awards and his films have been acclaimed world-wide but director Tsai Ming Liang remains a virtual unknown in his home country of Malaysia.
In fact, not one of his films has made it to the local cinemas.
Perhaps he thought that it was time to change that and so last year, he returned to make his first Malaysian film, I Don’t Want To Sleep Alone.
Starring Taiwanese actor Lee Kang Sheng and local newcomer Norman Atun, it had a largely Malaysian crew and was shot on location around Kuala Lumpur.
The story revolves around a Taiwanese, Hsiao Kang (Lee Kang Sheng), who is robbed and beaten up in Kuala Lumpur and finally rescued by immigrant worker Rawang (Norman).
Tsai revealed that he could relate to how the immigrants felt away from home.
“When I returned to Malaysia in 1999, I couldn’t help but notice the number of foreign workers in the country,” he said at a recent Press conference in Kuala Lumpur to launch the release of the movie.
“Like them, I have been living and working aboard for many years. Up to today, I feel that I do not belong anywhere. The idea for the movie grew from that.”
I Don’t Want To Sleep Alone premiered to a standing ovation at the Venice International Film Festival. It was also nominated for several Golden Horse awards in Taiwan.
But when it was ready to be screened here, the Censorship Board objected towhat it deemed were undesirable elements —scenes of poverty, foreign workers, brawls and air pollution in the light of Visit Malaysia Year 2007.
Tsai was naturally disappointed, saying that the movie’s themes were about human relationship and the need for man to find love, warmth and someone they can depend on, rather than about Malaysia.
He had been very careful about how he portrayed the characters and intimate scenes because he’s, after all, Malaysian and does understand the sensitivities involved.
“There were no stripping or offensive scenes,” he said. “And I have been careful about the editing, which was especially made for the Malaysian release. I was surprised at the Censorship Board’s decision.”
Fortunately, after an appeal, the film was passed —but with several cuts. Also, its release would also be limited to art house cinemas.
One of the deleted scenes showed Norman washing the injured Lee’s body.
Tsai felt that it was a very touching moment.
“I think it’s a heavy loss for the movie. Despite the cuts, I assure you that the movie is still well worth watching.”
Tsai was born in Kuching, Sarawak but moved to Taiwan when he was 20 years old to further his studies.
He eventually graduated from the Drama and Cinema Department of the Chinese Cultural University in 1982.
He later worked as a theatrical producer, screenwriter and television director in Hong Kong before embarking on making movies.
He received a Golden Lion Best Picture award for Vive L’Amour at the Venice Film Festival in 1994 and went on to grab the Silver Bear/Special Jury Price for The River at the Berlin International Film Festival in 1997.
The following year, he received the FIPRESCI Award for The Hole at the Cannes Film Festival.
In 2002, he received the distinguished medal of the Knight of Order of Arts and Letters from the French government.
Three years later, he was awarded the Alfred Bauer Award and Silver Bear for Outstanding Artistic Achievement for The Wayward Cloud at the Berlin International Film Festival.
Aware that the people in the street might not be as receptive towards art films as they are to the more commercial offerings from Hong Kong and Hollywood, Tsai went to great lengths to let them know that art films can also be enjoyed by the layman.
He gave talks to secondary school children and at events organised by major Chinese dailies.
Tsai and his entourage also decided not to wait for people to go to the cinemas to buy tickets to his movie.
Instead, they took the tickets to the people and went straight to the heart of Kuala Lumpur — Petaling Street — last Saturday to sell them directly to the public.
“Response has been good,” he said. “I hope that at least 20,000 viewers willcome watch I Don’t Want To Sleep Alone.”
http://www.nst.com.my/Current_News/NST/ ... index_html