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‘The Wandering Earth’ helped me get through the winter blues.
In all seriousness, I was delighted to be a part of the enthusiastic crowd that gathered on opening night in Times Square to watch this science-fiction adventure, which stars a talented ensemble of Mandarin-speaking actors attempting to prevent the Earth from collapsing into the planet Jupiter. “The Wandering Earth” was one of the Chinese New Year’s hits last year, and I was hoping that it would be one of the hits this year. It made $300 million in its first week alone in China, which is a promising sign that we can expect more entertainment of this caliber in the near future.
At first glance, the setup may appear to be familiar. Several years after the Earth’s leaders transformed it into a planet-sized spaceship in order to avoid being destroyed by an overactive sun, two teams of astronauts are battling to save the planet. The first team consists of a two-man skeleton crew, consisting of the square-jawed Peiqiang Liu (Jing Wu) and his Russian cosmonaut friend Makarov (Igor Makarov) (Arkady Sharogradsky). Other characters include Qi Liu (Chuxio Qu), a feisty twentysomething son of Peiqiang, and his upbeat partner Duoduo Han, who form a small exploratory group (Jinmai Zhao). In their respective missions, these factions spend the majority of their time combating MOSS, an unhelpful computer located on a remote space station, and exploring an ice-covered planet in stolen all-terrain vehicles (some of which bring to mind “Total Recall,” specifically the tank-sized drill-cars).
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However, while director Frant Gwo and his writing team incorporate elements from American-produced science fiction disaster films such as “Armageddon,” “The Day After Tomorrow,” and “Sunshine,” they do so in a visually dynamic and emotionally engaging manner that distinguishes the project from its Western counterparts and distinguishes it as a great and uniquely Chinese science fiction film.
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Instead of centering the story on a single hero surrounded by supporting characters, “The Wandering Earth” distributes bravery generously among a cast that includes action hero Wu, rising stars Qu and Zhao, as well as comedy institution Man-Tat Ng, who plays a grey-bearded spaceman named Ziang Ha. No single chest-puffing hero or mustache-twirling antagonist is singled out for praise or vilification in the script, which is credited to six writers in total (not even MOSS, the sentient, HAL-9000-style computer program in the space station).
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The theme of teamwork is applicable to people of all ages. Both Peiqiang and Ng (who was formerly the straight man to film comedy superstar Stephen Chow) are treated with respect because they are older and, as a result, are presumed to have more experience and a stronger moral fiber than younger people. The veterans get along well with the film’s younger astronauts, whose optimism causes them to be as bold as they are idealistic in their pursuit of knowledge.
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As part of its belief in the power of teamwork, this apolitical blockbuster about a post-climate change disaster extends its message to the rest of the international community. The film is full of narrative diversions that serve to reassure viewers that no single country’s leaders are smarter, more responsible, or more capable than the others—with the exception, of course, of the leaders of the Chinese.
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Second, “The Wandering Earth” looks better than most American special-effects extravaganzas because it gives you time to take in landscape shots of a dystopian Earth that look like old-fashioned matte paintings taken to the extreme. Despite the fact that Gwo and his team were able to realize their expensive-looking vision with the assistance of a small number of visual effects studios, including the Weta Workshop, they have managed to blend their many influences in bold, stylish ways that only Hollywood filmmakers such as James Cameron and Steven Spielberg have previously achieved.
Third, the film’s creators give new life to tired tropes that have become cliche. For the sake of making their equipment appear unique, Gwo and his team spend a little extra time demonstrating the laser beams, steering wheels, and hydraulic joints on their space cars and exoskeleton suits. The storytelling goes above and beyond to show viewers the emotional stress and natural obstacles that the characters must overcome in order to solve scientifically credible dilemmas, and it does so in a compelling and engaging manner (all vetted by the Chinese Academy of Sciences). This film may not be the next “2001: A Space Odyssey,” but it is everything that “2010: The Year We Make Contact” should have been and is much better than it was (and I like “2010,” a lot).
More than a week after seeing “The Wandering Earth,” I’m still amazed by how good it is. I can’t think of another recent computer-graphics-driven blockbuster that has made me feel this giddy as a result of the can-do attitude of its creators and their meticulous attention to detail. The future has arrived, and it is nerve-wracking, beautiful, and predominantly Chinese.
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