Movie About Taiwan Rebellion Agains Tjapanese

2011 Taiwanese picture show

Warriors of the Rainbow: Seediq Bale
Film poster
Directed past	Wei Te-sheng
Written by	Wei Te-sheng
Produced by	John Woo Jimmy Huang Terence Chang
Starring	Nolay Piho Yuki Daki Umin Boya Masanobu Andō Kawahara Sabu Yuichi Kimura Vivian Hsu Landy Wen Irene Luo Chie Tanaka
Cinematography	Chin Ting-chang
Edited by	Chen Po-Wen Milk Su
Music by	Ricky Ho
Distributed by	Vie Vision Pictures
Release dates	Part ane: September 9, 2011 (2011-09-09) Part 2: September 30, 2011 (2011-09-thirty) (Taiwan)
Running time	Part 1: 144 minutes Part 2: 132 minutes Both: 276 minutes Single version: 150 minutes
Country	Taiwan
Languages	Seediq Japanese Taiwanese
Upkeep	NT$ 700 - 750 one thousand thousand (United states of america$ 23 - 25 million)[1] [ii]
Box office	Taiwan: NT$ 880 million (U.s.a.$29 million, both parts)[3]

Warriors of the Rainbow: Seediq Bale (Seediq: Seediq Bale(help·info) ; literally Real Seediq or Real Men; Chinese: 賽德克·巴萊; pinyin: Sàidékè Bālái ) is a 2011 Taiwanese historical drama film directed by Wei Te-sheng and produced by John Woo, based on the 1930 Wushe Incident in central Taiwan.

The full version of the picture show shown in Taiwan is divided into two parts—Part one is called "太陽旗" (The Sunday Flag), and Part 2 is chosen "彩虹橋" (The Rainbow Bridge), running a total of iv hours and 36 minutes. Notwithstanding, the original ii parts of the moving-picture show were combined into the single international cutting; its run time was 2 hours and xxx minutes. The film is the most expensive production in Taiwanese cinema history. The picture has likewise been compared to the 1995 film Braveheart by Mel Gibson and The Last of the Mohicans by the media in Taiwan.^{[iv] [5]}

The film was shown in contest at the 68th Venice International Flick Festival and was selected equally a contender for nomination for the 84th Academy Awards for Best Foreign Language Film in 2011.^{[6] [7] [8]} It was one of nine films shortlisted to advance to the adjacent circular of voting for nomination.^[9]

Plot [edit]

Warriors of the Rainbow depicts the Wushe Incident, which occurred near Qilai Mountain of Taiwan under Japanese rule. Mona Rudao, a chief of Mehebu village of Seediq people, led warriors fighting confronting the Japanese.

Part I [edit]

The film begins with a hunt past a mountain river in Taiwan. Two Bunun men are hunting a boar, but they are attacked by a group led by young Mona Rudao of Seediq people. Mona Rudao invades the territory, kills ane of them and takes abroad the boar.

In 1895, People's republic of china cedes Taiwan to Nippon via the Treaty of Shimonoseki. The Japanese invasion of Taiwan ends with Nippon defeating Han Chinese resistance. Japanese military officials meet the natives as an obstacle to the resources of Taiwan. Later a team of Japanese soldiers are attacked by natives. The attack leads to a boxing between Japanese and natives, including Mona Rudao, on a cliff trail. On his manner to merchandise with Han Chinese off the mountain, Mona Rudao also feuds with Temu Walis, a Seediq fellow from Toda group. The Japanese ban people from trading with Mona Rudao, and collaborate with a group of Bunun to become Mona Rudao's men drunk and ambush them when they are asleep. Later some battles (the 1902 人止關 and 1903 姊妹原),^[10] Rudao Luhe, Mona Rudao's father, is injured. Their village, Mahebu, and neighboring villages fall under the control of the Japanese.

Twenty years pass. Mahebu and other villages are forced to abolish the custom of keeping the heads they have hunted. Men are subject to depression-wage logging jobs and prohibited from conveying guns they own, and from traditional animal and human hunting. Women work in houses of the Japanese and surrender the traditional weaving piece of work. Children, including Pawan Nawi, attend school in Wushe hamlet. Men purchase alcohol and medicine from a grocery owned by a Han man, who the men hold a grudge against as they are now in debt. Higher up all, they are forbidden to tattoo their faces, because to earn that tattoo the young men must impale an enemy and accept their head. The tattoo is believed to be the requirement for Seediq people to "go to the other side beyond the Rainbow Bridge" afterwards death. There are as well young people such as Dakis Nomin, Dakis Nawi, Obing Nawi and Obing Tadao, who prefer Japanese names, pedagogy and life style and attempt to piece of work and alive among Japanese. The Japanese, except a few, are not aware of the tension.

In belatedly autumn of 1930, the village of Mona Rudao holds a wedding for a young couple. Mona Rudao goes hunting for the wedding and quarrels for hunting ground with Temu Walis, who is hunting with Japanese policeman, Kojima Genji, and his son. At the wedding, Yoshimura, a newly appointed and nervous Japanese policeman, inspects the village. Mona Rudao's first son, Tado Mona, offers to share his homebrewed millet vino with Yoshimura, but Yoshimura considers the beer unsanitary as it is fermented with saliva, and Tado Mona's easily are likewise covered in claret from an animal he has just slaughtered. A fight with Tado Mona and his brother Baso Mona ensues. The fight is stopped, but Yoshimura fears for his life and threatens to punish the whole village. Later Mona Rudao tries to mend relations with Yoshimura, who refuses to accept the apology. Young men, including Piho Sapo from Hogo hamlet, see the mass punishment as unacceptable and urge Mona Rudao to start war with the Japanese. Mona Rudao tells them that it is impossible to win, but accepts that the war is unavoidable and decides to fight.

In a few days Mona Rudao calls on villages with pacts to bring together forces. They schedule to attack the Japanese on October 27, when Japanese volition attend a sports game (in retentiveness of Prince Kitashirakawa Yoshihisa) and assemble on the schoolyard of the Wushe Village. The women, including Mona Rudao's get-go girl, Mahung Mona, know the men are planning for a war and are saddened by the prospect.

Dakis Nomin, a young man who adopted the Japanese name Hanaoka Ichiro and became a police officer, notices that Mona Rudao is preparing for war. He comes to a waterfall and tries to persuade Mona Rudao not to start the war, instead Mona Rudao persuades him to interact. Later on Dakis Nomin leaves, Mona Rudao sings with the ghost of Rudao Luhe and determines to start the war. In the dark before, Mahung Mona tries to seduce her husband, which would intermission a tribal rule and prohibit him from going to war the next mean solar day. The natives set on the police outposts. Mona Rudao then rallies young men from village to village, and at last chief Tadao Nogan of Hogo hamlet agrees to join Mona Rudao.^[11] Anybody is articulate nigh the outcome of the war: the death of the native warriors is certain, but they are willing to fight anyway, considering merely a warrior with claret on his hand tin enter the "land of their ancestors". The combined warriors decide to rather fight and die in honour, rather than live in shame.

On October 27 the attack takes place as scheduled, with the killing of all Japanese men, women, and children. Pawan Nawi and other boys kill their Japanese teacher and his family. Obing Nawi, a adult female who wears Japanese clothes, is spared only because her husband Dakis Nomin covers her with a native cloth. Obing Tadao, who is daughter of chief Tadao Nogan and who also wears Japanese wearing apparel, survives by hiding in a storage room. Han people such as the grocer are spared during the assault. Native people attack the police station and have the guns kept in the building. One Japanese police officer escapes and tells the outside world nigh the assault. The film ends with Mona Rudao sitting in the schoolyard which is full of bodies.

Part 2 [edit]

The second moving-picture show begins with Dakis Nomin and Dakis Nawi writing their last words on the wall, showing their ambiguity. When the news of war breaks open, policeman Kojima Genji is threatened by the natives, but convinces Temu Walis and his men to side with Japan. The colonial government sees the insurgence equally a major crunch, and sends Major General Kamada Yahiko with a force of 3,000 police force and soldiers to fight the 300 men on Mona Rudao's side. Pawan Nawi and other boys earn their face tattoos. In a wood some people begin to commit mass suicide, Dakis Nomin, his wife Obing Nawi, and infant son Dakis Nawi amongst them.

General Kamada is furious with the stalemate and orders the use of illegal poison gas bombs confronting the natives. Kojima Genji sets bounties on men, women and children in Mona Rudao'due south hamlet, and orders Temu Walis and his men to fight Mona Rudao.

The battle turns against Mona Rudao's side, many of his men are killed by poison gas and Temu Walis' men. Mona Rudao's people lose the hamlet to the Japanese and other natives and retreat to caves. Pawan Nawi and the boys experience desperate and inquire to fight side by side with Mona Rudao. Mona Rudao asks them to recite their cosmos story in which the get-go human being and first woman are formed from a tree that is half stone half woods.

In the retreat the women kill the children then hang themselves on trees to conserve food for the warriors. Piho Sapo besides helped his injured relative, Piho Walis, to hang himself. Temu Walis is shaken when he sees the hanged women, and claims that he fights for his own sake not for Kojima.

Mona Rudao and his men launch a desperate set on on the Japanese strength occupying the Mahebu village. Baso Mona is injured and asks his brother to impale him. Pawan Nawi and the boys die fighting. Meanwhile, in a river, Temu Walis and his men are ambushed past Piho Sapo and other men. Before he dies, Temu Walis hallucinates that he is fighting a immature Mona Rudao.

When Mona Rudao sees the fight is near the end, he gives leadership to Tado Mona, and returns to his married woman and children (the picture show implies two versions of the story, ane is that Mona Rudao shot his wife, the other is that the wife hanged herself^[12]). Some people of the village surrender and survive. Natives present and identify heads of the dead to the Japanese leadership for rewards, and it is shown that in the battle they feud with each other even farther. Mahung Mona is resuscitated by the Japanese, and is sent to offer Tado Mona'due south men vino and a chance to surrender. The men take the wine, and sing and trip the light fantastic toe with the women, but refuse to surrender. Tado Mona tells Mahung Mona to give birth to and raise offspring, and leads men to hang themselves in wood. Piho Sapo is captured and tortured to decease. The war ends, and even Kamada is impressed by his enemy's spirit. The surviving people of the villages that insubordinate are removed from their homes, and are later attacked by Kojima. Mona Rudao is missing, and a native hunter is led by a bird to find his body. The hunter and then sees Mona Rudao and his people following the Seediq legend to cross the rainbow span. The film ends with a scene of several natives telling their cosmos story.

Bandage [edit]

• Nolay Piho (林慶台, Lin Ching-tai) equally Mona Rudao: Mona Rudao is the protagonist. The graphic symbol deviates from the existent historical effigy significantly. The pic grapheme is described as a at-home, authoritative and mature Seediq Tgdaya hamlet primary of Mahebu. He lived nether Japanese rule for 30 years and had been to Japan. He understands Nippon'due south power, but thinks it brings Seediq people no skillful, and insists on maintaining their own culture. In history, Mona Rudao did non participate in some of the battles described in the moving-picture show. Whereas he was famous, he was one of many leaders in the uprising. At that place are controversies over the film's depiction of Mona Rudao shooting his wife and children. In 2010 some Seediq people held a forum and said that information technology is impossible for Mona Rudao to practise such a affair equally information technology is forbidden by the "gaya" custom. The director responded that he changed the scene to brand the state of affairs ambiguous.^[12] There are also controversies of whether Mona Rudao is depicted as a hero. Nolay Piho is a 51-year-one-time Presbyterian minister from Nan-ao, Yilan. Nolay is of Atayal origin. Nolay is non a professional person actor, nor does he speak Seediq or Japanese linguistic communication. Nolay used Romanization and Chinese characters to memorize his lines. Information technology was hard for him to human activity and the mood on site was tense. He had a heart attack during the shooting. In addition, Lin is shorter than the character.^{[13] [14]} Lin also starred in a short the director made almost going to Venice for film festival. The pic brought Lin much publicity and advent but he said he even so wants to exist a government minister. Nolay appeared in 2 more than films and a Tv set serial as of today. He moved to a hamlet with legal bug in Wulai, Taipei.
• Yuki Daki (大慶, Da Ching) equally Mona Rudao (young): The younger Mona Rudao is described equally a tall, athletic and ambitious human. Yuki Daki is a 34 years old male person model of Atayal origin.
• Umin Boya (馬志翔) as Temu Walis: Temu Walis is described equally a lifelong enemy of Mona Rudao, and he is forced to collaborate with Japanese. Umin Boya is a Television actor with Seediq origin from Yuli, Hualien. Umin has starred in several series by Taiwan Public Television set Service, including the role of Dakis Nomin in the catamenia drama Danu Sakura. In promotion, managing director Wei commented that Temu Walis' collaboration with Japanese is controversial, and the character has long been depicted as negative, and Wei cast Umin Boya to utilise his positive image. Umin said in promotion that he is from the Toda group of Temu Walis and he is glad to play the part. Ma later directed the movie Kano produced by Wei.
• Pawan Nawi (曾秋勝, Zeng Qiusheng) as Rudao Luhe, Mona Rudao'southward father. Pawan as well served equally translator and coach for the Seediq language.
• Umin Walis (林源傑, Lin Yuan-jie) every bit Pawan Nawi: Pawan Nawi is a immature boy of Mahebu village. He and other boys grow up under Japanese rule, earn confront tattoos and die in the insurgence. The character seems to be based on a memoir of a elder. Nonetheless Dakis Pawan, a consultant of the movie, strongly doubted the existence of such a grouping of boys. Umin Walis is a inferior high school student and a member of school wrestling team. He is of Atayal origin from Ren-ai, Nantou.
• Yakau Kuhon (田駿, Tian Jun) equally Tado Mona: Tado Mona is Mona Rudao's first son. The graphic symbol wears the darker cloth.
• Pawan Neyung (李世嘉, Lee Shih-chia) every bit Baso Mona: Baso Mona is Mona Rudao'south second son.
• Pihu Nawi (張志偉, Chang Chih-wei) as Biho Sapo: Biho Sapo is a historical young man from Hogo village neighboring Mahebu village of Mona Rudao. The tape suggests that he may non exist as influential every bit described in the film. In the moving picture the character encourages Mona Rudao and Hogo village to fight Japanese, fights with Mona Rudao and later kills Temu Walis.^[14]
• Masanobu Andō (安藤政信) as Kojima Genji (小島源治): Kojima Genji is a Japanese police who is once friendly toward the natives and tries to learn the language, but he becomes hostile later his family is killed past the natives. Historically, Kojima is responsible for the massacres of the natives who survived the war.
• Kawahara Sabu (河原佐武) as General Kamada Yahiko (鎌田弥彦).
• Kimura Yuichi (木村祐一) equally Satsuka Ayu (佐塚愛祐): a police officeholder in Wushe.
• Landy Wen (溫嵐, AKA Yungai Hayung) as Mahung Mona: She is a girl of Mona Rudao and a mother of ii. Landy Wen is a popular singer of Atayal origin from Jianshi, Hsinchu.
• Bokeh Kosang (徐詣帆) as Dakis Nomin: Dakis Nomin, or Hanaoka Ichiro (花岡一郎), is a Seediq Tgdaya homo who adopts Japanese educational activity and name, and works equally a policeman. Historically, the man did not participate the October 27 attack. Afterward he and his relatives committed suicide, and the suicide was widely reported past the colonial media. Bokeh Kosang is a stage and TV actor of Truku origin from Hualien. Bokeh joined Chinese singing contest Chinese Idol and got disqualified.
• Yokuy Utaw (羅美玲) equally Obing Nawi: Obing Nawi, or Kawano Hanako (川野花子), is a Seediq Tgadaya woman who likewise adopts Japanese education, name, and work. She is from Dakis Nomin's hamlet, and knew him from babyhood, becomes his wife, and lets him impale her after the school attack. Yokuy Utaw is a singer and extra with Atayal origin from Jianshi, Hsinchu.
• Vivian Hsu (徐若瑄, AKA Bidai Syulan) as Obing Tadao: Obing Tadao, or Takayama Hatsuko (高山初子) is a cousin of Kawano Hanako, and they share a similar groundwork. In history the adult female survived the state of war and the two massacres after the war. Hsu is a singer and thespian with Atayal origin, and has a career in Japan.
• Chie Tanaka as Kojima Matsuno: Kojima Matsuno (小島松野) is Kojima's wife. The adult female and her children are killed in October 27 attack. Chie Tanaka (田中千繪) is a Japanese extra who collaborated with Wei Te-sheng before in Cape No. 7.
• Cheng Chih-wei (鄭志偉) as Wu Jindun (巫金墩): The Han Chinese grocer on Wushe. Cheng collaborated with Wei Te-sheng earlier in Cape No. seven.
• Ma Ju-lung: A Han Chinese grocer off the mountains. Ma Ju-lung (馬如龍) is an histrion of earlier Taiwanese films, and collaborated with Wei Te-sheng before in Cape No. vii.

Production [edit]

Evolution [edit]

According to an interview in Hong Kong, Wei's idea to brand the movie began in 1996, when he watched a news story about an aboriginal group demanding the government to render some lands. Wei so saw the next story questioning whether the sovereignty over Hong Kong should return to China or Republic of People's republic of china. Wei found this ironic, and the next mean solar day he went to a bookstore to read about aborigines. At that place he institute Chiu Ruo-lung (Chinese: 邱若龍; pinyin: Qiu Ruolung )'s comic book on the Wushe Incident. Wei became interested in main Mona Rudao and his motives. Wei then wrote and revised a screenplay, and looked up historical background.^{[15] [sixteen]}

In 2000 Wei finished the screenplay, which won the Fantabulous Picture Screenplay Honour from Government Data Role (GIO). In 2003, Wei raised NTD 2.5 million, which he used to shoot a 5-infinitesimal demonstration film. The movie was sounded by Tu Du-chih, edited by Bowen Chen (both are awards winning filmmakers, and both afterwards also worked on the complete film). The short was starred by actor Liao Mentum-sheng (廖金生), actress Tseng Yu-chun (曾玉春) and others. His goal was to heighten USD 7 million (about NTD 250 1000000), which is rather expensive for Taiwanese movies at the time.^{[2] [17] [18] [xix]} (Later on Wei said his married woman supported his decision to spend 2 million on the short movie when the crew was against him)^[xx] The screening failed to raise money, and Wei's family unit met difficulty, merely Wei insisted his upkeep to exist NTD 200 million.^{[21] [22]}

According to an interview in 2008, director Chen Kuo-fu told Wei that in order to earn investors' trust, Wei should brand another moving-picture show first. So Wei turned to make Cape No. 7. In Cape No. 7 Wei chose non-famous actors, a story with multiple lines, and colonial period references to demonstrate the feasibility of these three elements.^[xix] Chiu Ruo-lung also came to work with Wei equally fine art (costume) designer on this film and Seediq Bale.^[23]

The success of Greatcoat No. 7 brought Wei money and fame, and Wei restarted promotion for Warriors of the Rainbow. Simply fundraising was still difficult. In 2009, Wei suggested the difficulty is that though the success of Cape No. seven attracted investors who are new to the filmmaking business, they were not comfy with uncertainty involved.^[16] In 2011 Wei looked back and said: "I speedily realized that potential investors were looking more than for Cape No. 8 than Seediq Bale." The investors were skeptical of the discipline of Seediq Bale, and doubted if the success of Cape No. seven tin can be repeated.^[2]

Teng Sue-feng in a report in February 2009 suggested that the budget of the film is "NTD 330 one thousand thousand", and that "Wei already has almost a third of" this budget. Teng points out that, too the profit from ticket sales, Cape No. 7 also earned Wei a subsidy of about 104 million from Government Information Office for the next pic.^[xvi] In May 2009, the casting met difficulties of finding aboriginal extras and actors for a war epic. The government made a special arrangement to let 20 enlisted men to act in the picture. At the fourth dimension the film was set to be released in mid-2010.^[24]

However Draft Morakot impacted Taiwan in August 2009. Tu Duu-chih said the typhoon destroyed the moving-picture show's set and sent the estimated upkeep from NTD 200 meg to 600 1000000.^[eighteen] By Nov 2011, Peng reported the budget to be 700 one thousand thousand, and the grant from GIO was 130 million.^{[25] [26]}

Filming [edit]

The crew built a ready in Arrow Studio in Linkou, New Taipei Metropolis to recreate scenes of Wushe Village in the 1930s. Taneda Yohei is the creative managing director supervising the art team. The set up had 36 houses. Some houses had interior decoration and props of the catamenia. The set cost NT$80 meg. After the filming was completed, the set was open to visitors for a while.^{[27] [28]}

The filming hired 400 technicians from Japan, Taiwan, and Hong Kong, and hired 1,500 not-professional as actors. The filming began in October 2009, took 10 months and was completed on 5 September 2010.^{[29] [30]} Other issues include keeping actors in shape for continuity and adjusting the wardrobes to protect privacy. Chin Ting-Chang is the director of cinematography who worked with Wei on several movies. Chin said he chose to use "Hollywood style" to shoot the epic in many short takes, which provide more than choices for editing and reduce risk of failure. Mentum too designed the use of wire cam which is said to be the first in Taiwanese movie theater. The sound recording and design were by Tu Duu-chih and Tang Hsiang-chu (湯湘竹). Foo Sing-choong (胡陞忠) is supervisor of digital effects and worked with Beijing's Crystal CG on this movie. Originally a Korean company was hired for the job but the company bankrupted and so the job was switched to Crystal CG instead, and many complained about the result.^{[ citation needed ]} Korean coiffure include Yang Gil-yeong (양길영, AKA Yang Kil Yong, 梁吉泳), Shim Jae-won (심재원 沈在元) who are action directors and nominated by Golden Horse Award, and Yi Chi Yun (李治允) who is a supervisor of special effects. Yang and Shim hired Korean stunt crew at beginning, but afterwards switched to Chinese crew which is cheaper. Nonetheless Chinese crew has a shorter working let and so they switched to Taiwan crew for the rest. Korean firm Cel Art provided body parts props. Many original music scores are composed by Singaporean composer Rick Ho with a cost of NTD 7 meg. The lyrics were written by Wei and Jiang Zide and subsequently translated. The movie script was originally written in Chinese, and translated into Seediq past Iwan Nawi and Dakis Pawan. Iwan Nawi later published her translation of the script. Dakis Pawan is likewise credited for the translation of the script, and recorded his pronunciation of the lines for coaching. Dakis Pawan, Iwan Perin and Zeng Qiusheng (player of Rudao Luhe) coached the cast with the language, and served as translators on shooting site.^{[13] [31]}

Some scenes were filmed on mount gradient or in river, with actors wearing little cloths. Rain, coldness, slippery slopes and running were challenging to both the crew and cast. Injuries were frequent. Financing problems were besides constant. Wei said that he had to direct the film and raise the money at the same time, and the company oft ran out of money for payrolls and props. There were reports that the film could never exist finished. Polly Peng reports that: "Wei'southward film company frequently couldn't pay the crew on time [...] the Taiwanese breathtaking designers went on strike, the Korean action squad just left, and the Japanese art team refused to hand over completed designs...."^[ii] In 2010, the Fundamental Motion Picture Corporation invested 350 million and was said to terminate financial difficulty.^{[ citation needed ]} Taiwanese celebrities including Jay Chou, Jerry Yan, Chang Hsiao-yen and Doze Niu also invested, and were acknowledged in the credits.

The film hired many non-professional actors, including for the main character of immature and older Mona Rudao. The film'south use of Japanese and Seediq linguistic communication was also a challenge to non-professional person actors.^[two]

Release [edit]

On 2 September 2011, Warriors of the Rainbow had its globe premiere at the 68th Venice International Film Festival, but the original two parts are combined into the one cut version and its running fourth dimension is two and one-half hours.^[32] It also was shown at the 2011 Toronto International Film Festival in September. A controversy began when the film was listed equally "Cathay, Taiwan",^[33] and widened into political arguments when Chinese reporters criticized the motion-picture show and Taiwanese dedicated information technology.^[34]

On September iv, the flick held its premiere of Part 1 in Taiwan at Ketagalan Boulevard.^[26] On September seven, the managing director held a small-scale-scale screening of Role 1 and Part 2 in Qingliu, Ren-ai, Nantou to keep an earlier promise with local people. (Japanese authorities moved the survivors of the rebellious villages to this place).^[12] The nationwide release of Part 1 was on September nine, and Function 2 on September thirty.

By 22 Nov 2011, its box office in Taiwan reached NTD 880 million (USD 29m).^{[3] [35]}

The film opened 27 April 2012 in the US in New York, Los Angeles, and the San Francisco Bay Area.^[36]

The film premiered in Beijing on 6 May 2012, and released nationwide on ten. Chinese online reviews find the battle scenes moving, and identify with the people's faith.^{[37] [38]} On the test-screening in Guangzhou, Wei said the Chinese version is the 2.5 hours long new international version, not the version screened in Venice Film Festival. Wei said that the version is not incomplete. Wei said that the Taiwan version has to exist longer to respond to domestic need for more historical details, while the international version can be shorter and focuses on the story. Wei also noted that the 4.five hours long version was not successful in Hong Kong commercially. Beside, the soundtrack of Japanese and Seediq dialogue is kept without re-dubbing. Zheng Zhaokui (郑照魁) from Nanfang Daily yet commented that ii.v hours international version is not as satisfying every bit the four.5 hours full version, and many aspects of the story were reduced. Zheng also noted that audience institute the suicide of Seediq women heavy.^[39] The DVD release is delayed to wait for screening in China.

In Japan, the film premiered in March 2012 on a moving-picture show festival. Wider screening began on 20 Apr 2013.

In South Korea, the movies were screened in five theaters in 2014. Only nearly 8000 people saw the function one, and ten the function ii. Lim Dae-Guen noted that the films received relatively high score on portal website Naver. Lim argued that the most Korean audience are unfamiliar with Taiwanese history and indigenous groups, simply the few who have seen it rated the movie positively, both for its quality and for their identification with its anti-Japanese theme.^[40]

Reception [edit]

Disquisitional response [edit]

Early reaction to the movie has noted both the realism of its violence (which is due to the historical accuracy of its depictions of boxing), and its undertone of Taiwanese nationalism. A review in The Economist avers that the film "[q]uite probably... has the highest number of graphic beheadings of any film anywhere. But they are true-blue historical depictions."^[41] As Walter Russell Mead further commented, "This type of movie, done well, tin can inspire whole societies with nationalist pride, reinforce the prominence of folk heroes (including, quite oftentimes, vehement ones), and strengthen a people's togetherness at the expense of foreigners."^[42] Chen Wen from Shanghai Morning Post reported that the premiere was not liked and commented that "Claret-thirst doesn't brand an epic." Chen commented that the film is as well long and the depiction of Seediq violence weakened the righteousness of resistance. Chen associated this with Wei's ambivalence toward Nippon. Producer John Woo explained on conference that Wei used the violence to depict the "original Seediq culture and history," and Wei said the war in the motion picture seeks simply nobility, freedom and death. Wei said that his shots of cruelty is to remind people.^[43] Later on comments past Taiwanese and Chinese reports involved cross-strait politics. Voice of America reported that Chinese media criticized the movie for having violence over substance and Taiwanese media and netizens defended emotionally, and the response escalated the hostility. Chen Weizhi, a lecturer, said that the director was responsible if the Chinese reporters misunderstood the moving-picture show. Chen also noted that the controversy was politicized. Chen and Ifeng.com both commented that the motion picture may suffer from a Chinese nationalist attitude to demonize Japanese with stereotypes like other Chinese epics.^[34] Jiang Zhileng of China Times responded that the criticism from mainland media simply increased mainland Chinese netizens' interest. Jiang noted that a netizen said the motion picture would be associated with conflicts in Tibet and Xinjiang if it is screened in China.^[44]

Justin Chang of Variety describes the film as a "wildly ambitious rumble-in-the-jungle battle epic arrives bearing and then heavy a burden of industry expectations, one wishes the results were less kitschy and more coherent", but "still, the filmmaking has a raw physicality and crazy conviction it's hard not to admire."^[45] Chang also writes "In terms of recent epic movie theater, the archaic warfare in Warriors of the Rainbow recalls that of Apocalypto, minus Mel Gibson's sense of pacing and technique" and the "cluttered combo of difficult-slamming edits, gory mayhem and Ricky Ho's forever-hemorrhaging score makes the pic only exhausting to watch over the long haul."^[45] On the positive aspects, Chang noted "there's an impressive degree of variation and anthropological detail in the weaponry and fighting techniques, from the numerous unsaid decapitations (the Seediq'due south chief grand.o.) to the guerrilla assaults in the tropical terrain they know and so well."^[45] Chang even so criticized the film's utilize of special effects as "generally substandard throughout" and writes the "occasional shots of CGI rainbows -- that championship is unfortunately literal -- send the picture momentarily spiraling into camp."^[45]

The movie pits native ferocity (rarely have I seen a moving picture with and so many beheadings) and scenes of more peaceful, communal living (the eerily beautiful Seediq songs, part of the tribe's ancestral storytelling, are spellbinding) against this historical event little-known in the West.

—Marc Savlov, writing for The Austin Relate ^[46]

Deborah Young of The Hollywood Reporter describes the film as "stunning to look at, authentic to a fault and a little tedious to follow", and praised the action set pieces equally "spectacular, most non-end sequence of grisly hand-to-hand combat scenes" and "No martial arts hither, but skillfully realistic fighting with spears and machetes, guns and cannons, which spare no one." Still Young too states that "no matter how ingeniously it is varied, the not-stop fighting becomes oppressive in the long run" and the motion picture'southward best scenes are in its "quieter moments".^[32] Alan Harris gave the motion picture three out of 5 stars and states "This is an extremely bloodthirsty picture show, with more beheadings than any other movie I can name, and scenes of carnage for most of its two and a half hour running time."^[47] However Harris states "The story does not like complexity – the Japanese are well-nigh universally portrayed as strutting hiss-boo villains or as hapless cannon fodder."^[47] Stephen Holden of New York Times criticizes the film: "the pacing . . . is clumsy, its boxing scenes chaotic and its estimator effects (specially of a fire that ravages the Seediq hunting forest) cheesy".^[36]

Subsequently the film screened in Mainland china with some other international version. Zheng Zhaokui (郑照魁) from Nanfang Daily compared this version to the consummate version and commented that it is short on Seediq culture thus loses the depth. Zheng also noted that audience establish the suicide of Seediq women heavy.^[39]

Critic Ryan Cheng (鄭秉泓) praised the movie for starting discussion for history of Taiwan, and commented that the scene of Mona Rudao singing was the almost uplifting part, comparing it to Hollywood moving-picture show Field of Dreams. Zheng then criticized the movie for lack of human warmth, and criticized the mass suicide scene for being rushed. Zheng likewise criticized the score composer for lack of cognition in the music of Taiwanese aboriginals.^[48] Writer Chuang Hua-tang pointed out many the movie'south deviations from history, such as Mona Rudao didn't participate some battles, and that the grapheme Pawan Nawi is fictional. Chuang then compared the movie to an earlier Television set series Dana Sakura, and praising the latter for the respect to facts and more than balanced treatment of characters. Chuang reminded that the movie is not documentary and it wouldn't impairment or affect the relations of ethnic groups in existent life.^[49]

Much attention is paid to the epic-film style, investment, and box function of the movie, as Wei's last movie Cape No.7 and this film were viewed as signs of revival of Taiwanese film manufacture.

Beijing based film critic Yuwen Ge noted that reverse to the belief that the film is supported by "nostalgia" of Taiwanese audience, he saw that many people are unfamiliar with this history, and wish to "take hold of upwardly", and so the support in fact comes from an awakening local identity. He pointed out that the film follows the anti-colonial formula, but takes a neutral stance. He feels that Mona Rudao is not glorified, and the Seediq killing is depicted equally guilty and demonic, and the Japanese equally victims. But he and then comments that this is not a elementary "pro-Japanese" mental attitude which many believe Taiwanese hold, but a result of a post-colonial culture. Yuwen raised the event of identity, and argued that Hanaoka Ichiro and Jiro are used to Japanese lifestyle but cannot alloy into Japanese society. Yuwen argued that the character is an allegory of ex-colonial people, who are used to advanced civilization, refuse to return to the backward native culture, and don't know where to become. Yuwen mentioned that the new generation of Taiwanese identify with Cathay less, and Yuwen further argues that Hanaoka Ichiro is "projection of contemporary Taiwanese'south cocky-paradigm."^[50]

Chinese media reports lamented the marketing failure of the picture show in Mainland china and its implication to Chinese speaking films. Noted failures include the short and insincere promotion, the 2012 April release clashed with blockbuster The Avengers and others, and the widespread thought that the ii.five hours "International Version" is censored and incomplete.^[51]

Film critic Li Jian who said the Function ii is too simplified and the ambivalent and interesting characters ended hastily. Li said the about important theme is the comparing between civilisation and atrocity. Li compared the headhunting in the showtime to Mel Gibson'southward Apocalypto, and suggested a paradox: Practise the Japanese colonizers bring civilization to Seediqs and terminate their vicious barbarism, or do Seediqs have their ground of civilization, and the Japanese civilization has gone the wrong fashion? Li referred to unlike waves of colonialism in history, and argued that "freedom is the cadre of civilisation." Li suggested that both Mona Rudao and Kamada share the consensus that the Japanese oppression is not civilized. However Li besides suggested that the issue of Seediq women's liberty is neglected in the movie.^[52]

Controversy [edit]

There were controversies about the accuracy of the film's representation of history and aboriginal culture. Dakis Pawan (a Seediq man, as well known every bit Kuo Ming-cheng), the film's consultant, published a volume that recognizes the efforts of the filming coiffure and their needs for dramatization, and that lists many deviations of the film from his studies of history.^[53] .^{[54] [55]} The final attack to take back Mahebu village, for example, is fictional. Dakis Pawan also traced the origin of the story of some Seediq boys, on which the characters of Pawan Nawi and his group of boys were based, to a memoir of an elder, and and so expressed his doubts on the beingness of these boys.^[56]

The film's view on aboriginal individuals and groups were controversial. Subsequently the film's release, Apple Daily reported that an Atayal elder said that a year before Wushe Incident there was Qingshan Incident, in which Mona Rudao collaborated with Japanese and attacked his village. The elder "said Mona Rudao was not a hero as described in the movie only a brutal man who killed 26 women, children and old people in the attack." Walis Pelin, a former lawmaker, and Chiu Hung-shui, a chairman of a local organization from Nantou, confirmed the elder's story, and added that Mona Rudao was forced under the Japanese policy of "using barbarians confronting barbarians." Still Dakis Pawan "quoted a spokeswoman for the Mona Rudao family unit and the main's foster-daughter equally proverb that she had never heard of the Qingshan Incident."^[57]

Ian Inkster, a professor in Taiwan, argued that the picture show simplified the part of ancient women during the incident, for example they are non shown to be drinking or fighting. Inkster besides argued that it downplayed how Han Chinese settlers impacted the natives in the longer menstruum, and ended that the film should non seen as a symbol of the immediate Taiwanese nationalism protestation against Cathay.^[58]

There were worries near that Temu Walis and Toda grouping'south place in the history may be simplified. In a 2011 talk evidence, Watan Nomin, a young pupil from Toda group, said that the conflicts between the Seediq groups is not only upshot of tradition, but too influenced by Japanese policy of setting upwardly "frontier guard line" (隘勇線) in the area.^{[59] [60]}

On a forum conference, Watan, a TV reporter from Toda group, criticized the movie for not describing the "gaya" custom of the people, and for its changes and mistakes of the historical details. In improver, Watan argues that the trauma amidst Seediq people is too sensitive to exist filmed, and the motion-picture show should address the aspect of peace and reconciliation. Chenzhang Peilun (陳張培倫), a professor, noted that people are moved by the film but don't chronicle the pic to aboriginal people's electric current situation.^{[61] [12]}

The representation of Seediq culture is controversial. A letter of the alphabet to a newspaper expressed concerns about the gore and violence depicted in the movie may injure the image of Aboriginal people.^[62] In a talk show, Dakis Pawan, Shen Mingren (AKA Pawan Tanah, a school principal) and others responded that the picture show does not represent Seediq people, and the killings has to exist understood in the context of history, national defense and Seediq custom (chosen "gaga").^[63] Iwan Pering, a translator of the film, said many details of customs and history are incorrect,^[59] and that Mona Rudao was unlikely to have invaded other group's territory and take the game, since it was forbidden by the rules of his group.^[64] Dakis Pawan besides said in his book that Seediq rules were strict and group-centered, therefore Seediq people were unlikely to human activity as freely and self-centered as in the movie. In particular, Mona Rudao was unlikely to feud with Temu Walis in the way shown in the movie.^[53]

Accolades [edit]

The film was shown in contest at the 68th Venice International Film Festival and was selected every bit a contender for nomination for the 84th Academy Awards for All-time Foreign Language Film in 2011^{[6] [7] [8]} and was one of 9 films shortlisted to advance to the next round of voting for nomination.^[9]

At the 2011 Golden Horse Awards, the film won Best Feature Picture show and Audience Choice Award, Bokeh Kosang (Hsu Yi-fan) won Best Supporting Role player, Ricky Ho won Best Original Film Score, Tu Du-chih, Tang Hsiang-chu, and Wu Shu-yao won Best Sound Effects. Wong Wei-liu, the key grip, won Outstanding Taiwanese Filmmaker of the Year.

See also [edit]

• Taiwanese aborigines
• Taiwan under Japanese rule
• Mona Rudao
• Musha Incident

References [edit]

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   Discovery Channel - Taiwan Revealed - Cinema Formosa: US$ 25 million (NT$ 750 million).
2. ^ ^{a b c d e} Polly Peng (Sep 2011). tr. past Geof Aberhart. "Fighting the Good Fight: The Encarmine Battlefield of Seediq Bale". Taiwan Panorama: 046–054. Retrieved 2012-02-28 . Although NT$130 meg of Seediq Bale's NT$700-million budget was covered by a strategic grant from the Government Information Function, finding the balance was no pocket-sized claiming for Wei.
3. ^ ^{a b} (Chinese)楊景婷[Yang Jingting]。《賽德克》2011稱霸十大華語電影 國片暴衝橫掃15億。蘋果日報。2011年11月22日。
4. ^ Taiwan buzzing earlier release of 'Warriors' epic
5. ^ 'Seediq Bale' depicts Taiwanese natives' fight for nobility
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7. ^ ^{a b} "'Seediq Bale' to vie for Oscars' best foreign flick". focustaiwan . Retrieved 2011-09-07 .
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9. ^ ^{a b} "9 Foreign Language Films Vie for Oscar". oscars.org. xviii January 2012. Retrieved 2012-01-nineteen .
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11. ^ (Chinese) 愛鋼鍊的洛洛。賽德克巴萊之荷歌社頭目 塔道諾幹.....巴蘭社頭目寫了半個月 這次希望能不要超過....。YAHOO!奇摩部落格。04:34 AM 2011/12/25。
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18. ^ ^{a b} Lan Tzu-wei (September 4, 2011). "INTERVIEW:'Director's charisma turned picture show dream into reality". Taipei Times. trans. Jake Chung. Tu Duu-chih (杜篤之), the recording artist of the movie, was interviewed. p. ii. Retrieved 2012-02-28 .
19. ^ ^{a b} 藍祖蔚[Lan Tzu-wei, tonyblue] (2008-09-14). 海角七號：專訪魏德聖. 藍色電影夢 (in Chinese). Retrieved 2012-02-28 .
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22. ^ In that location are two estimations of the goal of the before fund raise. Before reports say the goal of the earlier fund raise is USD 7 one thousand thousand (NTD 200 to 250 million). But when interviewed by Lan Tzu-wei in 2008, (after the success of Cape No. 7), Wei said that he borrowed NTD ii million to make the short motion-picture show, and his goal was to enhance USD x meg (NTD 300 million), which may have scared investors away. See Lan, 2008. At that place are besides less accurate sources written after the 2011 release saying the goal is NTD 70 meg. There are also two estimations of cost of the 5-minute film. Co-ordinate to Peng, "in 2003 Wei spent NT$2 1000000 shooting a five-minute trailer." This is also the interpretation from Lan Tzu-wei'south ii interviews with Tu and with Wei. However the 2011-09-14 report from Apple Daily and 2003-11-25 study from United Daily News say the cost is 2.5 million.
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25. ^ Co-ordinate to Culture.tw, a website funded past Council for Cultural Affairs, the upkeep was 700 million and the grant from GIO was 160 million. See "Seediq Bale is Taiwan director Wei's dream projection". 2010-09-10. Retrieved 2012-02-29 .
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33. ^ 張菫宸 (2011-07-xxx). 魏德聖：賽德克純正臺灣片-監製黃志明已去函 要求威尼斯影展更正 (in Chinese). 自由電子報. Retrieved 2011-09-04 .
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36. ^ ^{a b} Stephen Holden (April 26, 2012). "Machismo, Obtained via Machete". New York Times . Retrieved 2012-11-25 .
37. ^ Chen Nan (2012-05-07). "Epic War Flim "Seediq Bale" Premieres in Beijing". Chinese Films.
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39. ^ ^{a b} Zheng Zhaokui (郑照魁) (2012-05-08). 《赛德克•巴莱》删节2小时 网友惋惜少了文化味. Nanfang Daily (in Chinese).
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External links [edit]

• Warriors of the Rainbow: Seediq Bale I at IMDb
• Warriors of the Rainbow: Seediq Bale Ii at IMDb
• Warriors of the Rainbow: Seediq Bale at Rotten Tomatoes
• Warriors of the Rainbow: Seediq Bale at Metacritic
• Warriors of the Rainbow: Seediq Bale at AllRovi
• Warriors of the Rainbow: Seediq Bale at Box Role Mojo

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Source: https://en.wikipedia.org/wiki/Warriors_of_the_Rainbow:_Seediq_Bale

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