Ang Lee’s new film Billy Lynn’s Long Halftime Walk is the talk of the day on Chinese social media. The cutting-edge yet criticized blockbuster is the latest addition to the Chinese director’s filmography of wildly different movies. But diverse as they are, Ang Lee’s films have typical characteristics in common. In that regards Billy Lynn’s Long Halftime Walk is a quintessentially ‘Ang Lee-an’ movie.

The latest movie by renowned Chinese director Ang Lee (李安), that premiered at the New York Film Festival on Friday, became the number one trending topic on Sina Weibo on Sunday, October 16.

With over 73 million topic views, Billy Lynn’s Long Halftime Walk (#比利林恩的中场战事#) became Weibo’s talk of the day.

Ang Lee’s latest film is an adaptation of the novel by Ben Fountain that is also titled Billy Lynn’s Long Halftime Walk (2012). One of the reasons the movie is such a hot topic is its use of novelty techniques, with a special use of 3D and an increased frame rate of 120 frames per second shot with 4K HD cameras that makes the picture look extremely real. Its official release will follow on November 11.

The story revolves around Billy Lynn (Joe Alwyn), a 19-year-old American soldier who is glamorously honored in the USA after returning home from Iraq. While Billy is struggling with his experiences in the war overseas, he also needs to deal with the surreal “Victory Tour” he is receiving in his home country and tries to reconnect with his family.

Although international media have criticized the movie for its “hyper-real” effect due to its incredibly high frame rate, many Weibo users cannot wait to see it – especially because they have high expectations of Chinese “master” director Ang Lee.

Ang Lee is known for internationally acclaimed movies such as The Life of Pi (2012), Brokeback Mountain (2005), Sense and Sensibility (1995), or The Wedding Banquet (喜宴, 1993).

“Ang Lee is a chameleon filmmaker whose signature seems almost invisible in his multicolored work.”

What is notable about Ang Lee’s films is how they seem to be so wildly different. From smoking cowboys in the American mountains to pale ladies in 19th century England, Ang Lee is a chameleon filmmaker whose signature seems almost invisible in his multicolored work.

Ang Lee’s work as a director is characterized by his multifariousness, as Lee experiments with diverse and often controversial themes and techniques.

Ang Lee was born in Taiwan in 1954. He graduated from the national film academy in 1975 and continued his studies in Illinois and later New York. Since his first movie in 1992 (Pushing Hands 推手), Lee has consistently collaborated with American screenwriters, actors, and production companies.

Although Ang’s first films involved China-related storylines, the 1995 Sense and Sensibility was Ang’s first film that had nothing to do with China. His major international breakthrough came with the award-winning Brokeback Mountain, that especially caused commotion due to its portrayal of gay love.

It might seem as if Ang’s movies are so varied that they have nothing in common at all. But besides the fact that many of these works include experimental features in terms of narrative or technique, there are also some overarching themes or characteristics in Lee’s work.

“Lee’s ability to be such a huge cross-cultural influence is unique.”

Born and raised in Taiwan, Ang Lee grew up with Chinese cinema. When he later lived and studied in America, he became familiar with a different cinema tradition.

The influence of both Chinese and American cinema, but also Ang’s personal experience of living in a new culture as an immigrant, are visible in his work.

Especially in Ang’s earlier films, the filmmaker worked with both Chinese and American actors and focused on the themes of culture clash and immigration.

But on a deeper level, Ang’s films are also characterized by their transnationality. By being a true ‘multicultural’ director, Ang cannot be marked as being either a typical ‘Chinese’ or ‘American’ film director. Instead, he is more culture-neutral and seems to leave any judgment over the films’ narratives to the audience.

Chinese actress Zhang Ziyi once said about Lee:

“Lee’s ability to be such a huge cross-cultural influence is, I think, unique. His Taiwanese upbringing, which kept him deeply rooted in the Chinese way of being and living, combined with his well-informed understanding of Western movies and filmmaking techniques have allowed him to speak to those two worlds in a way no other director has.”

Billy Lynn’s Long Halftime Walk also deals with the clash between the situation in Iraq and modern American society. Billy Lynn is faced with the glitter and glamor of his heroic American “victory tour” that poses a stark contrast to his experiences in the battle of Iraq war. “It is sort of weird being honored for the worst day of your life,” protagonist Billy says at one point.

“Great romance needs great obstacles and textures.”

Another important recurring characteristic of Ang’s films is its representation of complexity within family relations. In Ang’s movies, family is more than a blood relation; it is a social network with certain inescapable codes and rules. The main characters often struggle to adapt to them and have troubles finding their own way in the sometimes smothering family webs.

Although it might not be at the heart of the story, the connection between Billy and his family, namely his anti-war sister (Kristen Stewart), plays an important role in Billy Lynn’s Long Halftime Walk.

A third typical Ang Lee film feature is the impossible love affair. In an interview with Garth Franklin, Ang Lee once told:

“I think great romance needs great obstacles and textures. Romance and love are abstract ideas, an illusion. How do you make that? I think, most of the time, obstacles help build the romance. It helps to envision and make it feel real to you.”

“I’ve been using repression, the struggle between behaving as a social animal.”

A final but significant feature in Ang Lee’s films is the repression of emotions. Ang Lee explains:

“I’ve been using repression, the struggle between behaving as a social animal. You’re seeking to be honest with your free will, less conflict. I think that’s an important subject with me. That’s who I am, how I was brought up.”

Repression of emotions is prevalent in all of Ang’s films, but probably most visible in Brokeback Mountain since the acknowledgment of their homosexual feelings is such a taboo for the two main characters.

Although Ang Lee has been called a ‘director of gay cinema’ before, the issue of sexuality is not as important as the theme of repression that often comes with it.

Together with the obstacle-filled love affair (the cheerleader who wants a mystical war hero), the aspect of repressed emotions is clear in Billy Lynn’s Long Halftime Walk, as it is the story of a “hero who doesn’t want to be a hero”, because everyone wants something from him and he does not know how to deal with it (Collider 2016).

Billy Lynn’s Long Halftime Walk has not been receiving rave reviews directly after his first screening. Most critics agree that there seems to have been more attention to technical features of the film than its narrative depth and that it does not do the film much good.

Nevertheless, Ang Lee has pleaded viewers to “please give this a chance”, and to “have an open mind.” Ang Lee is not afraid to be a pioneer of new cinema techniques, even if he is criticized for it – in that regards, Billy Lynn’s Long Halftime Walk is very much an Ang Lee film.

On Weibo, many netizens are excited about the much-anticipated movie. “I am already preparing to go and see Ang Lee’s next work,” one netizen writes. “I am a die-hard fan of Ang Lee, and I expect this film to be a great work again,” another Weibo user says.

Ang’s films are about cultural contrasts, love with obstacles, individuals that struggle with the codes of family culture, and especially people repressing their emotions – all transnational themes that also play a role in Billy Lynn’s Long Halftime Walk. In this way, his latest work, as innovating and controversial as it may be, is once again a typical ‘Ang Lee-an’ work of art.

– By Manya Koetse
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To read recent reviews of Billy Lynn’s Long Halftime Walk, go, for example, to The Guardian or US Magazine.

Sources (other sources linked to within text)
* “Ang Lee: Asian audiences more accepting of gay subject.” China Daily 21 jan 2006. 12 juni 2007. <http://www.chinadaily.com.cn/english/doc/200601/21/content_514390.htm>
* Franklin, Garth. “ Interview: Ang Lee, Brokeback Mountain.” Dark Horizons. 7 dec. 2005. 12 jun. 2007. http://www.darkhorizons.com/news05/brokeback2.php
* Martin, Fran. “The China Simulcrum: Genre, Feminism, and Pan-Chinese Cultural Politics in Crouching Tiger, Hidden Dragon”, in: Chris Berry en Feii Lu (eds), Island on the Edge: Taiwan New Cinema and After, Hong Kong: Hong Kong UP, 2005: 149-159+163-164+188-190
* Zhang, Ziyi. “Ang Lee”, Time. 30 apr. 2006. 12 jun. 2007.
<http://www.time.com/time/magazine/article/0,9171,1187225,00.html>

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