… continuing Color.
Through recent examples of good and bad (of course as everything, the term bad is relative to each and everyone’s sense of taste, but I’ll use it, hence forth, as a reference to the use of color correction in a way that doesn’t help increase the viewers or retain a well balanced movie, not making it a memorable or enjoyable piece of art/product), I will further demonstrate the U.S.’s influence over what has been done in Asia, and how, sometimes, that influence isn’t always beneficial to the receiving party.
Starting with good examples of how appropriate and how color correction increases some movies appeal on an audience, I have chosen the movies – Aftershock, Love in a Puff, Detective Dee, Under the Hawthorne Tree, The Stool Pigeon and Monga, The Man from Nowhere and 13 Assassins.
All of these movies are from the last 3 years (production and release) and are all from several countries from Asia (Japan, Korea, China, Taiwan, Hong Kong). All have been shot on film or digital (with the Red, the Alexa or Panavision cameras, etc), and all have been shot by very different Directors and Cinematographers. Some are technically groundbreaking, others help the Asian market fight with its American and European counterparts at a level playing field for an enthusiastic but growingly judgmental audience.
The movie is set during the Great Tangshan Earthquake of 1976 to the “present day”, so, even thought its set in the recent past, the collective memory of the public is still highly influenced by photographic and video depictions (here by the quality of cameras existing in China at the time and not in the rest of the world) of that single event.
The movie is shot in an extremely somber grey/brown color palette with its main focus, the destruction evidenced by a catastrophic movement on the earth’s core and the somber reality lived by the family after the earthquake and the choices made during it.
This visual choice makes the image and story on the screen become stronger and more appealing to the public as they are not being visually manipulated into feeling excited or vulnerable or tired over seeing a devastating event and ensuing suffering through manipulative color aberrations.
Using earth tones and softer graded greys even helps the filmmakers in some scenes (where some of the effects or time transitions may feel artificial) get away with pretty much anything throughout the more dramatic/death infused scenes. This monotonic color scheme ends up hiding some otherwise evident mistakes as the audience isn’t being blasted by vibrant and distracting colors (if an explosion happens with vibrant reds, yellows and oranges, but isn’t to the liking of the audience, their attention is easily lost in unnecessary effects shots, or even necessary but unattainably better shots).
There isn’t any doubt why Aftershock did so well in the box office and dvd sales in Asia, as it is a very solidly constructed film, from its incisive story line to the evident control of every detail in color, cinematography and tone and its team’s decisions to make the movie more event grounded over visually “vibrantly” appealing.
At the other side of the box office success pool we have Love in a Puff. The movie was in all accounts a disaster when it came out but, through very good word of mouth and reviews, the movie ended up making its fair amount of money to support its makers, becoming a weird conundrum in the Hong Kong internal movie market.
One of the most common reviews and criticisms (from professionals and viewers alike) was that the movie, even though it had its faults, it “spoke real” to people. This term is widely used when talking about documentaries and extremely visceral, dramatic movies, but Love in a Puff is a somewhat quirky comedy where smoke and the relationships ensuing over its, now recent, social persecution, takes the center stage.
The creators nonetheless, instead of adding immense quantities of smoke and making the image bland and with a small color differential (here maybe realizing that a flat approach on the color spectrum would surely repel the viewers, as the Hong Kong smog is itself already abundantly evident on a day by day basis), went in a different direction, and tried to make the movie color intuitive with a palette closer to the Technicolor scheme of the Kodak years, but toned slightly down (exuberant highlights but a color scheme that appreciates the colors instead of blowing them).
This decision, makes for simple, calm and perfectly lit scenes on the outside (here the white color of the sunlight and the clean darks of the city, make for a beautifully romantic city, where its main characters find companionship even in the supposed dark corners of the streets), and vibrant and soft coloring/lighting on the inside scenes (the purple, blue, black and grey, aren’t excessively contoured or selected in the frames, but are evidently apparent during the scenes, and make for a very appealing mise en scène).
These two examples, even though coming from different sides of the production reel, and from two “largely” different markets, showcase how a carefully controlled and decided color scheme/cinematography, further increase a movies possibilities over its fledgling although highly competitive markets.