PLASTIC CITY
Brazil/China/Japan, 2008, 118 minutes, Colour.
Anthony Wong, Joe Odagiri.
Directed by Yu Lik Wai.
Plastic City is an unusual co-production, between Latin America and Asia. It takes for granted the fact of so many Japanese migrants living in Brazil as well as business connections with China and Taiwan.
The film is odd and bizarre at many times, yet a somewhat fascinating portrait of criminal activity, migrants in a completely alien world and their adaptation, Brazil and San Paolo in the modern world.
The film opens in the jungle, on the border of Brazil, Japanese migrants being pursued, killers, animals in the jungle and the central character, Yuda (Anthony Wong) transfixed by a tiger but rescuing a little Japanese orphan. In the present, the film shows Yuda and his empire of fake goods and his deals with China, the menace of the Mafia, corrupt government officials, government permissiveness and control, bosses from New York City. He manages his empire with the help of the little boy, now grown up, Kirin (Joe Odagiri). Yuda’s empire includes clubs, prostitution – though he draws the line at drugs.
During the film, the director relies on the tradition of the thriller, of the Mafia-type dramas, of business rivalries and ruthlessness. Yuda himself, played sympathetically by Anthony Wong, is, however, a disreputable person and unlikeable. His adopted son, Kirin, is an idealist although caught up in this criminal world.
The film shows the collapse of Yuda’s empire, his going to jail, the deals for his release, his revenge. It also shows the complicated loyalties of Kirin, his love for one of the prostitute dancers and the plans to go away with her and yet his staying with his adopted father.
The film ends with some South American mysticism with Yuda’s return to the jungle, his communication with the natives there, going through rituals – and Kirin’s finding him, with tragic results.
The film is realistic at times, quite symbolic, even hyper-symbolic during the last forty minutes. While there is realistic treatment of some issues, other sequences like the post-Tarantino martial arts battle on the top of a monument, interrupt the flow of the film and it seems that many realistic episodes (including the flooding of the city) are omitted.
However, it is an interesting sign of world cinema and collaboration between different and diverse continents.
1.The dramatic impact? Visual style? Content? Excess?
2.The international co-production, the ingredients for the interested parties? Brazil and its life, San Paolo? The Chinese and their business? The Japanese migrants? The different perspectives? Asia and Latin America? The musical score? The songs, the karaoke, the clubs?
3.The opening in the jungle, the contrast with the city, the visuals and the photos used of San Paolo, edited and stylised? Surreal? The blend of the surreal and the real? Club, apartments, offices, the warehouse, the factory? The boat?
4.The world of fake goods, Asians and their selling as well as making them? The opening of the Latin- American market? The industry in San Paolo, the street-sellers? The money turnover, the deals, the government and its interventions, the police?
5.Yuda, in the jungle, at the border, the shooting of the Japanese, his taking Kirin from the tiger? The symbolism of staring out the white tiger? The end, the return to the jungle, Yuda and the rituals, the mystical knowledge, the tiger? The photos for Kirin, his arrival, Yuda and his using Kirin’s sword to kill himself? The significance? The sacrifice?
6.Yuda and his age, the forty years in business, his explanation of his origins, the building up of the business, his trophy wife, her work at the club? The crime world? The club? Prostitution? The dancers? The fake goods, Kirin and his being second-in-charge, his surrogate son? The deals, the intervention of the government official, the mediation of Coelho? The man from Taiwan, the New York Mafia connections? The opening of the mall? The police raids, the impounding of the ship, Kirin and his work, the closing down of the factory, Yuda’s arrest? In jail, his being bashed? His getting out, his anger with Coelho? Kirin and his hiding, his wife, the flood, the ship and the discussions with Mario, Kirin killing Mario, the burning of the ship, the explosions? Faking his death, going to the jungle, going through the rituals, his death with Kirin’s sword?
7.The contrast with Kirin, his life with Yuda, adult, work in the factories, with the street-sellers, tough? His loyalty to Yuda? His attraction towards his wife, their discussions? The relationship with Rita, her son, getting the money, leaving San Paolo, the sexual relationship? His not going with her, loyalty to Yuda? The man from Taiwan, the raids and the jobs, the factory? The deals to get Yuda out of prison, the confrontation with Coelho about the money? Getting the money? The fight with the two gangs, the deaths of his associates? His friend, the friend’s son, surviving? His hiding with the son and the wife? The Mafia thugs, their battles? Deaths? The flood, the ship and its explosions, his going into hiding, the child? Going to the jungle, the confrontation with Yuda, his amazement at his death? His future?
8.Coelho, the corrupt Brazilian, general, politician, gambler, seeing him in action, mediator, getting the money, the double dealings?
9.The politicians, Brazilia, knowing what was going on, wanting to get control, the international pressures? Using the police?
10.Yuda’s wife, her role in the club, singing, her love for her husband, the discussions with Kirin? Her being humiliated by the Mafia types in the club, finishing the song? Rita, stripping, the prostitution? Her wanting to get out for her son? The discussions with the other women?
11.Mario, the ships, the impounding, wanting fifty percent, the brutal killing?
12.The man from Taiwan, suave, man of the world, business?
13.The end in the jungle – and the comparisons between the jungle of the plastic city and the jungle of the Brazilian borders?
