Men and women are scantily-clad during a swimming pool scene, however there is no nudity in this scene except for men not wearing shirts.
A man is seen stroking a younger man’s neck and smiling.
After sex, a man and woman are seen partially clothed
Men visit an area with many prostitutes.

A man accuses another man of being a pedophile, shouting that he “does it with boys”. This causes a fight to break out.
A mother washes her young son’s dead, naked body.


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


War reporter, in the eyes of any journalist, this is the most challenging and can best reflect their own value. Under the guidance of kappa and other pioneers of field records, field journalists have become an indispensable part of the historical puzzle of the 20th century, but there are only a few films with these themes. I can only think of Roland Yoffe’s killing battlefield, Oliver Stone’s salvado and so on, One of the best works is Peter Weill’s 1982 work dangerous age, which not only retains the tense plot and vivid characterization of the original novel, but also depicts a grand historical picture of the era of the disappearance of idealism.

As the last masterpiece of will’s Australian period, the dangerous age continues his exploration of genre film mode. Will did not make the film into a drama divorced from history, but went beyond the limitations of type and presented a film full of self reflection and emotional tension in his unique mysticism and visual poetry. As a work with a war reporter as the protagonist, the East-West cooperation between Australian journalist guy Hamilton (played by young Mel Gibson) and Billy Guan played by Linda hunt is immediately reminiscent of “slaughtered by war”, The field romance between guy and Jill (signey Weaver) reminds people of the Hollywood classic Casablanca. Guy’s last airport escape and the diplomatic war he experienced remind people of last year’s film escape from Tehran. It can be said that will’s works can always greatly adjust and adapt to various types of film models, include personal style in Hollywood commercial elements, and integrate the author style of European authors with the revision of types by American film authors.

At the beginning of the dangerous age, the film clearly explains the theme of the film, and also shows will’s infatuation with folk mysticism. Puppet shadow play (Wayang play), an allegorical drama form extracted from Indonesian mythology, appears in the first shot of the film, which gives the audience a strong visual hint. Wow Yang Drama is a drama in which the operators hiding behind the scenes use shadow puppets combined with light and shadow effects to produce dynamic shadows. With the soundtrack like a requiem, a terrible atmosphere came. Sure enough, the following stories show us the protagonists who have become the shadow puppets of the political drama taking place in Indonesia.

The film begins with Billy’s narration. Billy is the most profound and complex role in the dangerous age. He is not only the contact between the western “reporter” and the eastern poor, but also an idealist. His mixed blood background and short stature make him look like an alternative completely divorced from society. Billy’s interaction with guy also reflects the consistent characteristics of will’s films: different values and destiny affect the characters, and their personality and experience can never be reconciled. Billy regards guy as his best partner (“sworn enemy”) and the political differences between the East and the West have also led to distrust in their hearts, which makes their life path completely different. After the India Malaysia conflict, in the flawed Indonesian society, guy wanted only an exclusive report on the stimulating events, while Billy wanted to record the society with more humanized things. Words and photography also seem to imply the difference between the two. Billy said, “I don’t care about the content of the picture. I care about the story behind it.”. As an idealist Billy, he wanted to “manipulate” guy and make him change. In the night scene where guy just arrived in Jakarta, Billy and guy walked on the streets of Jakarta, surrounded by local poor beggars. Both of them in the night were like small shadows left by weak lights. In fact, they were manipulated. Billy helped guy, a newcomer who had no interpersonal relationship, interview the leader of the Communist Party of India, which caused a sensation in the press. At the same time, he also helped guy get to Know Jill and let them develop a love relationship. Interestingly, Billy told guy that he had failed to propose to Jill, but now he still controls Jill’s life. He chose guy, Let him complete this impossible love instead of himself. Jill’s western image: beautiful and tall, while Billy is short and ugly. The political game between the East and the West was presented by will with a romantic reality. When Billy showed guy the shadow play of wayan, he chose three symbolic roles: the heroic Prince ajuna, the princess Sri Kandi and the dwarf attendant SEMA. Will is afraid that the hint is not obvious enough than using the whoan play to explain his manipulation relationship. In the next lens, guy walks to Jill’s photo with a leather puppet and picks up the photo. At this time, the symbol is more concrete. Guy with a shadow play and photo is not only the person manipulated by Billy, but also the person manipulating Jill, The shadow cast by the light suggests that the journalist who affects others by reporting news can not really control his own life. Billy’s more idealistic point is that he still keeps a prostitute and an orphan. Billy’s short stature and bold behavior made him look at life from the worldly point of view of a wise man, but will finally gave him the most tragic ending. The death of the orphan made Billy know that he was just a manipulated role. When he tried to break free from this bondage, the tragedy happened (will’s Truman’s world after will can be seen as a continuation of this theme).

The main operator in the film is not Billy, but sugano, the immoral ruler. Sukarno imagined that he was a strong political man who could manipulate the relationship between the left Communist Party and the right military, but he sacrificed the people in order to protect his power. At the same time, guy got information from Jill about the secret delivery of weapons by the Communist Party of India from Shanghai. Guy insisted on reporting the news despite Billy’s warning. Billy found that he had a wrong understanding of political heroes and personal friends. Finally, he took the risk and hung a banner “Sukarno, please feed your people” at the hotel window where Sukarno was going to pass, But before sugano passed, he was pushed down the window by the secret police. In Billy’s house, the secret files he established kept the information and photos of the people he was related to. But the photos are edited, only the characters are retained, the background is removed, and they look like leather dolls. Billy’s tragedy is the failure of idealism that will wants to express. Billy, sugano, guy, they all live in the illusion that they can control their lives, but this dangerous age has taught them a lesson.

The only important female character in the film (another female character is the Communist guy met) is Jill. She has a special identity: the assistant of the British ambassador is actually a spy. Jill has few political plots in the film except for sharing the part of romantic love (she is arguably the most political character). In the days when the coup came, she only thought about how long she could leave or whether she could devote herself to a new relationship. Will used Jill to undertake the romantic narrative. After Billy died, she disappeared in the narrative, but she was the most sober person. She told guy that the news of the Communist Party plotting a coup was to let him leave with herself. She knew that once the news was exposed, guy’s life would be in danger, so she had to leave. She also knew Billy better than guy, but all this could not change the fact that she could not occupy the narrative center. Looking at guy again, he is the protagonist of the film and always intervenes in events from the objective perspective of journalists. When Billy asked him to add more emotion to the news, he wrote a report on the famine in Longmu Island (Jill said that her friend was moved to tears when talking about this report, and guy asked how to make her cry, which shows Jill’s rationalism). In the choice of news and love (friendship), he still chose the former. After the coup, he came to the presidential palace to report regardless of his life. As a result, he was blinded in one eye. Knowing that his assistant Kumar was a communist and his life was in danger at any time, he chose to report the news of weapons transportation. Guy is an excellent journalist. He is brave and meaningless, but he represents the stereotype of the western world. He repeatedly used money, cigarettes and other economic tools to win the hearts of the people. He was speechless in the face of Kumar’s political criticism. Finally, for the sake of love, he gradually moved away from the hero image. Eastern and western dualism is still deeply rooted in the minds of Western journalists (in the film, a Western reporter likes to play with Indonesian prostitutes, and a reporter has a same-sex relationship with a bar bartender). Although the Casablanca Hollywood ending is undoubtedly devastating for a film that appeals to political truth, But will showed us a successful attempt of diversified narration.

As Kumar finally said to guy, “when you drink coffee in European cafes in the future, don’t forget the time you spent in roadside restaurants here”. As a Western reporter, guy can only leave in the end, and the dangerous age has become a simple type story; On the other hand, Billy’s words “we are incompatible… We can’t feel comfortable in this world” turn the dangerous age into a fable about the failure of idealism. In the fables and symbols of wayan drama, will transcends the binary opposition between the East and the West. We see Billy, guy, Jill, Kumar and sugano. In this era of fading ideals, they are full of passion, but they are black and blue in the end. They write history, but they are forgotten by history in the end.

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