Two men are shown frolicking with prostitutes and later the same men are shown in a hot tub with the women. They are kissing and caressing each other and breasts are shown albeit briefly.
A woman’s breast is seen as she is breastfeeding her child. This is brief and non sexual in nature.
A much older man is seen kissing and groping a woman who seems to be enjoying it.
Men are occasionally shown topless but this isn’t sexual in nature. No other male nudity is present in this movie.


Film review:Translated by www.rabudo-ru.com


Despair is an unforgivable sin. It will always find us.

——Sam pekingfa

It’s about violence in all of us… It reflects the political environment of our time. It has a dual purpose. I use it to purify. When some people see violent scenes, they will feel inexplicable and disgusting ecstasy, but they must ask themselves, “what’s the matter with me?” Through compassion and fear, I want to create the effect of purifying the soul.

——Sam pekingfa

In 1913, the conservative and harmonious simple life in Huangsha town on the border between the United States and Mexico was as eternal as in ancient times. The arrival of a group of outlaws broke the tranquility of this land. But they have no time and nowhere to escape. This is the last blow in their brilliant and sad life. Their goal is the bank. They calmly walked into the bank and could see that they were all old hands, but the pistols frightened the people in the town, so one of them, pike bishop, said, “if they move, kill them!” (If them move, kill’em。)

The moving image is frozen, the color picture becomes black and white, and the subtitles are hidden: Director: Sam pekingfa.

This is probably the most violent director in film history. Indeed, when sunset yellow sand was released in 1969, too many viewers could not even watch the first 15 minutes of the film, so they got up from their seats and protested out of the cinema. Therefore, the words of the characters in the play become a pun: on the one hand, it indicates the upcoming extreme violence of the film; On the other hand, it is the tragic fate that the director has foreseen. “Bloody Sam”, they call the director. Yes, the director who lives on alcohol and cigarettes is not only violent to the producers and actors, he even doesn’t show mercy to the audience. You can’t understand me and oppose me, but if you dare to move in your seat, well, kill you!

The birth of bloody Sam

The birth of a bloody film author means the rebirth of a genre film. Sam Pekin knows the west, the rules of cowboys, and the desolation of this dying world. Needless to mention those violent gun battles, this sense of helplessness has permeated every detail of sunset yellow sand: Deke Thornton led a group of unscrupulous fugitives to chase the bandits led by pike bishop. One of his men suddenly picked up a pistol, pointed it at Thornton’s back and shouted like a child, “bang! Kill him!” Thornton was suddenly frightened and hurried to get his pistol, but there was a sneer across the street. He had to rein in his horse and let the guy go first.

This is just a few seconds, and this is the world of pekingfa. Heroes are old and guns are like children’s play. In this terrible world, you have no friends. Your only friend is death. It goes with the shadow and will happen anytime and anywhere. Maybe this is just a joke, but next time, you may not be so lucky.

This is the world of Sam pekingfa. Even in his early television works, the young man born in Southern California intuitively described the land he loved. His mentor is don Siegel. Sam used to be his assistant, guest actor and dialogue modifier. Although Sam saw too much cruelty from the battlefield and history (he participated in World War II and came to China, and studied history after retirement), how to show these cruel humanity in front of the camera was a gift from Siegel. Sam never denied Siegel’s influence on him: “he is my ‘Guardian’, he makes me work, he makes me crazy, and he also makes me think. Finally, he asked me what he should do next. Once, I thought about it, and then he used his idea. This is the moment when my film career was born.” In 1955, when Siegel chose another high school and gave up his TV series gunsmoke, Sam won his first chance in life. The queue tells the story of a Chinese immigrant who was victimized by racial violence. 15 years later, after Sam finished sunset and yellow sand, when he came back to watch the work again, He said: “I was amazed that this work was so simple and exquisite. Even then, I began to deal with ethnic minorities and marginal figures!”

Pei Jinfa always said that what he wanted to create was a simple world. That’s how he described his amazing work sunset yellow sand. But this is no longer a simple, black-and-white world. John Ford’s world is no longer. Therefore, the strong sense of form at the beginning of sunset yellow sand has become a prophecy, a symbol of intergenerational alternation and a symbol of the rebirth of genre films: the picture is constantly switching between black-and-white fixed frames and color moving images, and the clear distinction between black-and-white morality is a thing of the past, The handsome and invincible cowboy is old. This is the world of Panavision, the world of special art and colorful, the west of the post classical era. Jing and Wei are no longer divided. This is the world of Sam pekingfa.

Heaven and earth are unkind, and all things are ruminant dogs

In Sam pekingfa’s imagination, “sunset yellow sand” should start like this: a huge close-up, groups of ants are frantically biting a scorpion several times larger than them. The scorpion is powerless and turns into meat pieces under the attack of countless ants. Then, the camera slowly pulls out, and we find that a group of naive are teasing these ants. Although this scene appeared in the opening segment of sunset yellow sand, it was not the beginning of the film. Due to the resistance of the producers, this inexplicable but metaphorical opening was considered too radical and rejected.

But this is exactly what Pekin law understands about the world. This is not about the duel between good people and bad people, nor is it a struggle between civilization and barbarism, nor is it a hymn of male hormones. In this world, factors beyond the control of the characters always fatally affect the characters’ every move. When they think they are acting with their own will, they are actually chess pieces manipulated by others. The world is unkind. The open western desert may have no man-made barrier, but there is providence and growth rings eroding everyone’s mind.

The best and most helpless way out: admit your old age. Pike Bishop’s legs have made him too old to jump on the horse. Although he is a little embarrassed, he is still strong to get on the horse again. This is the tragedy of Pei Jinfa’s characters, but it is also their tragedy. At the end of the story, Bishop said, “we must give up the pistol and think again. Those days are gone forever.” This is the 20th century. This is a group of people who live in the wrong era. When they see general Mapache’s new car, they realize that the era of riding is gone. Civilization has already won a great victory. In the famous train robbery in sunset yellow sand, Peijin law even gives the train a subjective perspective, as if this symbol of modern civilization also has a soul. It cuts the skin of the desert with a breathing sound and cast-iron track. In this scene of horses, trains and cars, The times seem to tell the restlessness of their own helplessness.

The same philosophy runs through almost all peijinfa’s films, and the most famous one is straw dog immediately after sunset yellow sand. Its title comes from Laozi’s famous proverb. If “sunset yellow sand” is Pei Jinfa’s adventure, he can’t be sure of the response of the film, which is likely to be his last work. Then, after “sunset yellow sand” won the affirmation in a shock, “straw dog” has become Pei Jinfa’s work heavily painting his personal world outlook.

This is not the western world he used to think. After parting with Warner, he came to the British town of Cornwall. This is a gray stone city. Some stone buildings can even be traced back to 2000 BC. Therefore, the stone city has become the same metaphorical world as the West: This is the place where civilization begins and ends. Here, time seems to be at a standstill, but the arrival of outsiders broke this eternal tranquility and triggered violence in everyone’s heart.

The plan that could not be realized at the beginning of sunset yellow sand was finally realized here. The virtual focus at the beginning of the film is like a gray black ant, which can gradually become the real focus. After that, we find that this is a group of children chasing a stray dog. In the next scene, another group of children are chasing and laughing at a child in the same way. Innocence is like a child, but sin is deeply buried in everyone’s nature.

Unlike the vast western grassland, “straw dog” is a film with claustrophobia. The Pekin method at that time was deeply influenced by the writer Robert Ardrey. He and the author believe that human beings, like their animal ancestors, have the instinct to protect their territory. For this reason, they can do anything. “I think it’s not only wrong but also dangerous to deny the animal nature of human beings. That’s what Ardrey said in his great books. I think he is the only living prophet today,” pekingfa said Therefore, in “straw dog”, almost all the violent scenes take place indoors, and Dustin Hoffman is undoubtedly a wise choice. When the gentle gentleman finally can’t bear it, and when violence breaks through his gentle clothes and camouflaged glasses, everyone will believe that this is an inevitable fate.

Once again, this is an eternal story, as if it is a replica of the “animal world” in human life. It is also an existential absurd drama, which is staged one by one in closed towns and closed houses. But when pekingfa said that Ardrey was a prophet, he also said that “he exposed the two sides of today’s American society”. Indeed, the reason why “straw dog” is shocked is not only because it is Peijin’s exploration of human ontology, but also because it reflects the profound changes in the United States at that time. In 1971, this was the United States with domestic and foreign troubles. Violence is rife in every corner of the United States. In those imaginary overseas territories and local cities, Americans are experiencing devastating violence. When Dustin Hoffman’s family just moved into their new home, one of the villagers asked him, “have you seen a lot of violence in the United States?” Hoffman replied, “yes, just between TV commercials.” The connection between people and real life has long been broken. Pekingfa is aware of the discipline of people’s life by the new media such as TV. Violence has become a kind of unreal, which can only be felt through the picture tube, but in his own film, violence has become a kind of surreality, as if it is to break through the two-dimensional space of the screen and bite everyone’s heart.

Pekingfa developed this theme later in the getaway. The road to escape is Pei Jinfa’s most contemporary work. This seemingly thriller movie is actually a curse song for the American consumer society. The opening of the road to escape is similar to the video game between freeze frame and movement in sunset yellow sand, but it focuses on every moment of commodity production. While pekingfa’s world is transformed into a city, a large number of car bombings in the film do not simply prove that his iconic montage techniques can be used not only in the wilderness, but also in the city. It is a curse on the car, a symbol of consumerism society. No wonder film critics compare it with Godard’s weekend, It shows that Pekin law hates capitalist society. As he said himself: “When we see our war on TV every day, see people die and really die, we don’t feel real. We won’t believe that those human beings who die on TV are real. We have been paralyzed by the media. All I have to do is show people the real death – but I don’t want to elevate it and style it.” Pekingfa’s violence and death are real, but it is this reality that makes people tremble.

Rediscovered style

For pekingfa, personal fame is always a little fleeting thing. In his later years, he lived in seclusion in Mexico and spent the rest of his life in excessive drinking and drug abuse. He is always a pioneer, so we have to pay tribute to him and go back to the 1980s. Martin Scorsese, Oliver Stone, John Woo and Du Qifeng, almost every film writer with the theme of blood and dead heroes, has never been stingy about his worship and admiration. Today, the violence in sunset yellow sand and straw dog may not be so heinous, but no matter how many times you watch his films again, you can always find his unique vitality. Of course, you will find the shadow of those skills in many people’s films.

The opening gun battle of sunset yellow sand is a landmark colorful paragraph of the film. This paragraph uses multi position shooting, fast splicing and slow lens upgrade shooting. In the previous gunfight scenes, a round-trip is usually completed by the shooting of one character and the landing of another character. In this film, in addition to these two shots, peijinfa also adds a slow shot of a character falling to the ground. He constantly switches between these three sets of shots, which not only emphasizes the speed of shooting, but also makes this violent scene aesthetic. If you carefully watch the scene in John Woo’s famous work “the true colors of heroes” in which the little horse brother shoots a horse into the hotel, you will find that John Woo used this technique to achieve his reputation as a master of violence aesthetics.

In the same scene, Pei Jinfa explained the relative position of the wandering bandit and the fugitive killer from a restrictive perspective, but when the sword was drawn, he also used an omniscient perspective to show the scene of a group of villagers entering the dead area. These three sets of scenes suddenly raised the suspense of the film to a new level. We will not only care about the exchange of fire between the two sides, but also care about the fate of the villagers and their impact on the gun battle. Interestingly, if you look at the end of Du Qifeng’s PTU, his climax is completely completed in the same way, but this time it’s a child who doesn’t know why.

We can still find too many examples, but what we can’t copy is the sincerity of pekingfa. Unlike those film writers who beautify violence and violence for violence, pekingfa never believes that violence can solve any problem. He will never play with blood. Therefore, every interpretation of Peijin law has become a misreading, but Peijin law is always lonely.

It is said that there is a riddle widely circulated in Hollywood:

The mystery: what movie was rated NC-17 in 1969 and R today.

Answer: when the film was Sam pekingfa’s sunset yellow sand.

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