For consistency, in this review of He ni zai yi qi (2002), known as Together in the United States, I've used the Chinese convention that lists surnames before given names for all Chinese nationals and characters. Together was something of a rebound effort for Chinese director Chen Kaige after a disastrous setback with his previous film.

Historical Background: Chen Kaige was born August 12th, 1952, in Beijing, China. He was in his early teens when Mao Zedong's Cultural Revolution threw China into turmoil, including all manner of education and the arts. At age fifteen and in the fervor of the Red Guard, Chen denounced his own father, who had been a movie director of note during the fifties and sixties. Later, Chen had to discontinue his education to perform manual labor on a rubber plantation in Yunnan province. He also served in the military for a while. Chen was not able to return to his hometown until Mao's reign was winding to a close. When Mao's successor, Deng Xiaopeng, began undoing the damage of the Cultural Revolution, Chen was able to enter the Film Academy in Beijing in 1978. It was a vintage year because Chen's classmates included Zhang Yimou, Tian Zhuangzhuang, and Zhang Junzhao, who together would comprise most of what later became known as the "Fifth Generation" of Chinese directors. Chen and Zhang Yimou are generally considered the most accomplished Chinese directors since the Cultural Revolution.

The present film is about the conflict between Art for Art's sake vs. Art for commercial purposes, fame, and fortune. It is easy to also see that dilemma as the essential conflict in Chen's professional life. Chen's first film, Yellow Earth (1986), was made in collaboration with classmates Zhang Yimou and Hu Qun. It was a landmark film because it signaled to the world at large that Chinese filmmaking was about to enter a new era. Its stunning visuals, controlled pace, and non-dogmatic perspective was in sharp contrast to the films made in China during the preceding decade. Chen's second feature film, The Big Parade (1985), was also made in collaboration with Zhang Yimou, so the reputations of the two were thus far intertwined.

That would soon change, as the two young, innovative directors would each strike out on his own. Chen was invited by Xi'an Film Studios to make the film King of Children (1987), based on a novella, by Ah Cheng, about children growing up during the Cultural Revolution. The film had its appeal, but, meanwhile, Zhang's first solo film, Red Sorghum, was gaining international attention and winning festival awards. In the inevitable comparisons between the classmates, Chen had, for the moment, slipped behind.

In 1987, Chen received a scholarship enabling him to pursue further film studies at New York University. While there, he was able to obtain funding for his next film, Life on a String, which he began as soon as he returned to China. The result was a strikingly avant guard film, with original visual and sound qualities, based on a fable set in Mongolia. Despite its artistic novelties, the film was a commercial failure. Meanwhile, Zhang Yimou had added two impressive films, Ju Dou (1989) and Raise the Red Lantern (1991). Zhang had become the toast of international film festivals while Chen had yet to be much noticed.

It was at that point in his career that Chen made a sharp turn in direction. His next film, Farewell My Concubine (1993), an ambitious period piece starring art house favorite Gong Li and Hong Kong star Leslie Cheung, greatly bolstered Chen's international reputation, especially when it shared the Palme d’Or at Cannes with Jane Campion's film, The Piano. Temptress Moon (1996), with the same pair of stars, was not as well received, but nevertheless a success. Chen then turned to a lavish period epic, The Emperor and the Assassin (1999), which made up in the beauty of its epic splendor what it lacked as drama. Although these three films firmly established Chen as a filmmaking luminary, none entailed the stylistic innovativeness of his earlier films. Chen had, to an extent, gone commercial.

In his next effort, Chen lost sight of his art altogether. Having earned an invitation to Hollywood, Chen next directed the English-language thriller, Killing Me Softly. Calling it a disaster would be overstating its success. The film was universally denigrated. Chen then returned to China and simultaneously returned to more familiar cinematic territory with the present film, Together. The film is a throwback, to an extent, to Chen's pre-epic days and the likes of Yellow Earth. It's a simple, unpretentious melodrama that works despite a somewhat clichéd plot because of its very natural performances, sensitively drawn characters, and beautiful music.

The Story: Liu Xiaochun (Tang Yun) is a child prodigy on the violin, playing with both technical virtuosity and passion, a rare combination for a youngster. He's won prizes every year for five years in his home province and the soothing tones of his instrument even helps a woman through a difficult birthing process. Xiaochun's father, Liu Cheng (Liu Peigi), had devoted his life to raising the boy as a single parent. The violin is Xiaochun's sole keepsake from his mother, who has not been a part of his life since he was an infant. Liu Cheng, who is a simple peasant, works hard to save enough money to take his son to Beijing, so that he can continue his studies and become a famous violinist. Liu Cheng hides his life savings in his orange cap and the two set off together for the big city.

In Beijing, Xiaochun competes in a competitive recital against other youngsters. Though he is the best performer in his age group, he finishes fifth because some of the other youngsters have teachers with connections. Xiaochun cannot be admitted to the conservatory because he has no permit to remain in Beijing. He and his father will be able to get permits, however, if they can find a private teacher for Xiaochun. Liu has a bad case of diarrhea. While occupying one of the stalls in the bathroom, he overhears one of the part-time teachers, Prof. Jiang (Wang Zhiwen), stating that Xiaochun should have won. He chases after the man, hoping to hire him as Xiaochun's teacher. Jiang initially rebuffs him but ultimately relents. Jiang is somewhat of a disheveled recluse and curmudgeon. He lives in squalor among a bevy of alley cats, dirty laundry, and unwashed dishes. He's still smarting over a long lost love who married a rival. Hence, he sees no particular reason to bathe anymore. Xiaochun and Jiang gradually develop an interesting and touching relationship, with Jiang providing the music lessons and Xiaochun, surprisingly, providing some guidance in how to live life.

Xiaochun also strikes up a unique relationship with a woman, Lily (Chen Hong), in her late twenties, or so, and a neighbor. She appears to make her living as something of a high-priced concubine, living off of one well-heeled man at a time. She dresses to kill and reminds Xiaochun of the models whose pictures he keeps tucked inside his music books, much like any other thirteen-year-old boy. She tips him for carrying a suitcase, on one occasion, and later pays him for playing the violin for her in her apartment. Another time she hires him to play at her birthday party. When her lover fails to show up, Xiaochum plays anyway and get a buzz on his cheek as a little extra payment. She starts to play the role of Xiaochum's big sister and he's realistic enough to limit his fantasies to that possibility. Sometimes Xiaochum helps Lily pick out what clothes to wear. Lily's current main squeeze, Hui (Chen Qjang), is something of a weasel. At a sidewalk café, Lily and Xiaochun spot Hui making time with another woman. Lily and Xiaochun team up to pretend they are the man's wife and son, which utterly destroys Hui's seduction effort with his new target woman.

Lui's top priority remains his son's advancement to fame and fortune. He realizes that Jiang is not well enough connected to ensure his son's success and decides to switch Xiaochun to another teacher – the renowned Prof. Yu (played by the director himself, Chen Kaige), who has already produced one international performer, Tang Rong (Li Chuan-Yuan). Yu, however, is a demanding and unfeeling taskmaster who engages in dirty tricks and demands that his best students live with him in his house. Xiaochun doesn't like the idea of leaving his old teacher and, behind his father's back, sells his violin and buys Lily a gorgeous fur coat. Lily initially thinks that the coat was a gift from Hui and he is happy to let her suppose it.

I won't add more about how things get sorted out, but there are a few surprises along the way. Xiaochun gets a peer rival in the form of Lin Yu (Zhang Qing), a young girl who is nearly as talented as Xiaochun, but who lacks his passionate quality. The conclusion is poignant without becoming outright sappy.

Themes: The conflict that drives this film is Xiaochun sorting out what is most important in life. At the personal level, it's an issue of loyalty to family and friends vs. success. At the artistic level, it's the same conflict, really, but reconceptualized as Art for Art's sake vs. Art for fame and fortune. It doesn't take a genius to realize which side Chen is going to come down on, for purposes of this film, though he hasn't always come down on that side of the issue in his own life. Most of us have to sell out our ideals now and then in the interests of pragmatics and getting ahead in life. I suppose that there's enough to be proud about if one succeeds in holding on to a pretty fair share of one's ideals rather than selling out altogether. On a broader level, Chen is also hinting at and bemoaning the Westernization of the "New China" (mainly in the large cities) through which some of the Chinese people seem to be selling a bit of their souls in the rush to get ahead.

Production Values: In its broad contours, the script for this film is pretty basic stuff of melodramas. Some viewers will find it all a bit too clichéd and pat, but most will find enough freshness in Chen's handling of the specifics to maintain interest. Love vs. greed is a hackneyed theme in films and literature, but Chen is not overly manipulative in squeezing the tears from your eyes. He lets the story evolve slowly and without undue drama until the situations demand some emotional response. The characters are detailed and well developed, including Xiaochun, Cheng, Lili, and the two teachers.

The sets and the cinematography get viewers right into life in China. The contrast between Professor Yu's highly Westernized apartment, with its shiny plastic surfaces and numerous conveniences, and the seedy but traditional and picturesque dwellings where Cheng, Lilly, and Prof. Jiang reside is especially apt. The cinematography may not grab your attention the way that many Chinese films since 1988 have, but it's certainly effective. The soundtrack features a sample of the violin repertoire that includes Strauss, Wienawski, Debussy, Sibelius, and – the pièce de résistance – the Violin Concerto in D by Pyotr Ilyich Tchaikovsky. For classical music lovers, the soundtrack alone is reason enough to watch and enjoy this film.

Tang Yun, who plays the lead role as Liu Xiaochun, is, in fact, a young virtuoso violinist, which ensures that his finger and bowing movements are realistic and perfectly synchronized with the soundtrack. The music you hear on the soundtrack, however, is performed by Li Chuan-Yuan, an accomplished world-class violinist who studied at Julliard and won the 1998 Nakamichi Competition. Li also appears in the film as the chastened, touring former prodigy of Prof. Yu, Tang Rong. Tang Yun had no professional acting experience and is a bit shy and introverted. One reviewer decries his performance for a lack of range. I've watched a lot of talented young musicians because my daughter performed for quite a few years in a youth orchestra. The best young soloists are often quite shy in their overt behavior – until they start flailing away on their instruments of choice and suddenly become emotional powerhouses. In my opinion, Tang Yun's performance was spot on, realistically depicted the liberating influence of artistic expression for introverted personalities. In any case, if you pay close attention to the nuances of his gazes and expressions, you'll see plenty of emotional range.

Liu Peiqi, as Liu Cheng, provides a very effective counterbalance to Tang Yun. It is Liu who provides most of the comic moments in the film, with rubbery-faced expressions. Liu deservedly won the Best Actor Award at the San Sebastían International Film Festival for his work in this film. He previously appeared in Shanghai Triad (1995). Wang Zhiwen, who played Prof. Jiang, previously appeared in The Emperor and the Assassin (1999). Director Chen Kaige played the role of Prof. Yu and his gorgeous wife, Chen Hong, played Lili. I can't imagine how so many influential, middle-aged, ordinary looking Chinese directors end up with gorgeous young actresses for wives! Oh, wait! I can. Talk about choosing success over other values!

Bottom-Line: This is a good film, emotionally satisfying and stirring at times, though the broad strains of the subject matter have been treated over and over again. Seeing these old issues in the context of another culture provides some freshness and the film's intelligent script adds a bit more. This film will likely please those who enjoy a good melodrama, classical music, or cinematic excursions into other cultures. The MGM DVD is devoid of extras except for the theatrical trailer. There are twenty chapter breaks and English subtitles for this film, which is in Mandarin. The running time is just a minute shy of two hours.


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You might want to check out these other excellent films from China, Hong Kong, and Taiwan:

Chungking Express
Crouching Tiger, Hidden Dragon
Eat Drink Man Woman
The Emperor and the Assassin
Fallen Angels
Farewell My Concubine
Hero
In the Mood for Love
Raise the Red Lantern
Red Sorghum
Road Home
Shanghai Triad
The Story of Qiu Ju
Temptress Moon
To Live
What Time is it There?
The Women From the Lake of Scented Souls
Yi Yi

Recommended:
Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children Age 13 and Older