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The action-fantasy “The Great Wall,” which was co-produced by Chinese and American filmmakers, does not feel like a McDonald’sized version of a Chinese film. When the square-jawed Matt Damon fights alien monsters side by side with Chinese soldiers, the film does have the feel of a spectacular big-budget action epic with a hero in the style of a golden-age western hero, which is true. Although many westerners are afraid to go where “The Great Wall” goes, the filmmakers succeed in doing so without irony, by elevating the spirit of selfless collectiveism that has become a cultural touchstone of modern Chinese cinema. “The Great Wall” has significant flaws, chief among them Damon and sidekick Pedro Pascal’s lack of bromantic chemistry, but one of the film’s greatest strengths is its ability to successfully blend Eastern and Western aesthetic sensibilities.
Damon and Pascal star as William and Tovar, two wandering European mercenaries who are captured by the Chinese army of the Nameless Order shortly after slaying a mysterious green monster. Damon and Pascal are married in the film. A “Tei Tao,” they are told, is one of a horde of creatures that attacks the now-famous Great Wall of China once every 60 years, causing it to collapse. After learning of the Nameless Order’s plight, William and Tovar are unconcerned; they intend to make their fortunes by stealing gunpowder from their hosts and selling it to European traders. After William is seduced by the formal control and selfless zeal that define the Nameless Order, however, William and Tovar’s agendas begin to diverge further.
And who wouldn’t be impressed by such a feat? Those who belong to the Nameless Order parade around in brightly colored suits of armor that are available in shades of indigo, crimson, and cerulean. Pulleys, bungee cords, hot-air balloons, boulder-firing catapults, and a large number of arrows are used to launch themselves at their adversaries in a coordinated attack. However, this is not due to the fact that director Zhang Yimou (“Hero,” “House of Flying Daggers”) and his assistant directors know how to direct extras; rather, it is due to the fact that they know how to direct extras. Instead, the impassive expressions on the faces of the Nameless Order’s soldiers serve as a constant reminder that all of these people are remarkable when taken as a whole. As a result, the scene in which William confesses to having killed a Tei Tao “alone,” without the assistance of Tovar or his slain mercenary colleagues, serves as an important reminder of the film’s communal ideology: William, as an undisciplined loner, must prove that he is worth just as much as a selfless Chinese soldier.
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Additionally, the action sequences in the film demonstrate a sense of precise, shared responsibility that is uncommon in action-adventure films today. It is similar to how the Tei Tao operate in that the army works as a unit. You can imagine how difficult it would be to enforce that philosophy given the fact that it necessitates a large enough budget to devote attention to the clashing maneuvers of two opposing armies. However, despite the fact that the film is heavily reliant on computer-generated imagery, the action sequences are not only thrillingly large-scale, but also visually rapturous. There are a few well-choreographed and well-directed action sequences that are centered on Damon, but it’s very easy to be seduced by scenes that focus on impersonal warfare rather than personal conflict. After that, the art department flexes its collective muscles with every lionhead-shaped helmet and barbed offensive weapon they can get their hands on. Who could remain unmoved after witnessing a group of people dangle, thrust, and throw everything they have at a swarm of deranged-looking creatures in the air?
The Great Wall Quiz
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Unfortunately, whenever the film transitions into a buddy comedy starring William and Tovar, the pace of the film slows down. To guess, I’d say that screenwriter Tony Gilroy (“Duplicity,” “The Bourne Legacy”) was brought on board to give Damon and Pascal some much-needed punch in their shaky scenes of light banter. However, there is no chemistry between the two actors. When Damon and Pascal appear in these scenes, they are playing roles that have been played for decades in Asian films: the Caucasian actors who appear to have wandered onto the wrong set and are unsure of what they are doing on the set. Damon speaks with his teeth clenched, which is appropriate for his fight scenes but makes him sound constipated in general. When you combine that with a strange Irish-inflected accent that is presumably meant to be generically European (his character boasts about fighting in various European conflicts), you have a critical black hole where your leading man should be, and you have a film in which your leading man should be.
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Fortunately, Damon’s character isn’t the main focus of “The Great Wall” at all. He performs best when he is a member of a group, though it is inevitable that he will eventually assume a leadership role. After all, William’s story is an assimilation narrative, in which the hero realizes the error of his ways and attempts to integrate into a society that places a higher value on utilitarian goals than individual needs. In contrast to any other American blockbuster you’ve seen, “The Great Wall” is a conservative film with action set pieces that are actually inventive and thrilling enough to make it worth your time to see it. Make use of a large screen if at all possible.Also, you must try to play this The Great Wall quiz.
For more personality quizzes check this: Lion Quiz.
