#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Based on J. G. Ballard’s autobiographical novel, tells the story of a boy, James Graham, whose privileged life is upturned by the Japanese invasion of Shanghai, December 8, 1941. Separated from his parents, he is eventually captured, and taken to Soo Chow confinement camp, next to a captured Chinese airfield. Amidst the sickness and food shortages in the camp, Jim attempts to reconstruct his former life, all the while bringing spirit and dignity to those around him.
Plot: Jamie Graham, a privileged English boy, is living in Shanghai when the Japanese invade and force all foreigners into prison camps. Jamie is captured with an American sailor, who looks out for him while they are in the camp together. Even though he is separated from his parents and in a hostile environment, Jamie maintains his dignity and youthful spirits, providing a beacon of hope for the others held captive with him.
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_**Even great people have a dud on occasion**_
A British boy (Christian Bale) living with his wealthy parents in Shanghai is separated from them when Japanese forces invade in the early years of WW2. He then has to survive the war in a POW camp. John Malkovich, Miranda Richardson, Nigel Havers and Joe Pantoliano play fellow prisoners.
Based on J.G. Ballard’s semi-autobiographical novel, “Empire of the Sun” (1987) was Steven Spielberg’s first venture into ‘meaningful’ filmmaking. It’s not without historical interest. For instance, the beginning situation in China is compelling, highlighted by a potent ‘slap’ scene that wakes the pompous kid up to reality.
From there, though, the movie becomes a tedious prison camp flick with too many ambiguities and drawn-out scenes. Bale does an admirable job in a challenging role, especially considering his age, but IMHO he overdoes it and so the boy comes off hyperactive and annoying. Check out the low-key indie “I Am David” (2003) for a more effective take on similar material.
The film runs 2 hours, 33 minutes and was shot in China, England and Spain (you can fairly easily figure out which parts were shot where).
Empire of the Sun glaringly shines insight into the impoverished wealthy amidst war-torn China. Spielberg is one of a handful of directors that everyone acknowledges. Whether your interest lies with films or elsewhere, he is known to all for his eclectic filmography that tackles nearly every single genre available. The beauty of his directorial talents, is that he can manipulate any subject matter and transform its contents into an accessible piece of entertainment. From hard-hitting crime capers (‘The Sugarland Express’) to the depiction of African-Americans succumbing to racial/sexist abuse (‘The Color Purple’). He has the ornate ability to disassemble history and shape the remnants into his Hollywood mould. But at what cost?
Does Spielberg’s contagious requirement for accessibility downplay the severity of its subject matter? Well, Empire of the Sun may just be the most perfect example to answer the aforementioned question. It illustrates my eternal adoration for the man as an auteur, as well as his damned tendencies that bring down his historical endeavours. A young British boy living with his wealthy family in war-torn Shanghai, becomes separated from his parents where he is soon retained as a prisoner of war in an internment camp.
An epic adaptation of Ballard’s semi-autobiographical novel, that heavily relied on a fictitious narrative to convey his own vivid memories of World War Two. A story of three vital themes that power both the characters and the central narrative. Opulence, faith and humanity. Spielberg commences the first act in a worrying light of unnecessary affluence, following a white family with an abundance of possessional wealth traversing the segregated streets of Shanghai embattled by poverty. The bitter aftertaste of supremacy as “peasants” desperately fight for survival. Whilst it may harken to real events, they make for unlikeable characters due to their careless perception in the environment they are enshrouded in. The father and mother are non-characters, merely acting as fuel for Jim’s coming-of-age journey, and Spielberg paid far less attention to the surrounding chaos which consequently diminished the severity of the war’s impact. It can be argued that the entire story, including the first act, is told through Jim’s perspective. But the naive ignorance to represent the lives that were truly affected was extremely profound.
Then Jim, in the crowded streets of Shanghai, becomes separated from his parents. Mugged, abandoned and lost. His opulent lifestyle relinquished from his selflessness. Gradually, Spielberg constructs an epic that conveys the loss of innocence. This once fragile young boy, unbeknown to the horrors of the world, now utilising his intuition to survive the brutality of war independently. Spielberg definitely downplayed the brutalism of conflict, and instead opted for an endearing focus on Jim’s abrupt development from a timid boy to unsung hero. Unsurprisingly, it worked. Spielberg’s screenplay presents Jim with a plethora of challenges that tests the will of humanity in its entirety. From attempting to escape the internment camp to resuscitating the recently deceased. Jim encompasses every notion of humanity during this heightened time, naturally making him relatable. His actions slowly further his development into adulthood in such a short space of time, with much gratification aimed at Spielberg’s masterful attention to characterisation.
Initially proclaimed as an atheist, Jim experiences metaphysical moments believed to be acts of faith, likening him to a deity of some kind. “Giving life” for a brief moment to the recently passed, which was an ounce of blood pumped to the brain. Witnessing a soul be released into heaven, however counteracted by the infamous Nagasaki atomic bomb. These “acts” grant Jim the power of self-belief, fully realising his potential as the “hero” of optimism.
There’s nothing more optimistic and endearing though than watching a juvenile Christian Bale steal the entire film. Malkovich and Havers ground the enthusiasm of Bale’s performance, yet his commanding presence at such a young age cements him as a talent to behold. Tender moments were handled with delicacy, whilst the louder moments fused with his boisterous personality. Quite simply, one of the best young performances I’ve seen. Williams’ signature score, ever accompanying Spielberg’s work, elevated the grandeur of the spectacular production design yet somewhat exhumed family-friendly vibes commonly found in his previous work. Admittedly that’s a personal conflict of my own, but again did diminish the more powerful scenes. Jim’s fascination with aircraft wasn’t fully realised and felt like an afterthought to coincide with the Japanese “friend” in the final act, although not a substantial detriment to the overall story.
In the blazing heat of war camps, Empire of the Sun shines as an epic that showcases the very reason for my Spielberg idolisation and his cursed ability to lessen the severity of history. Regardless, you’ll laugh, gasp and cry during this coming-of-age tale, and that’s the true beauty of this auteur’s timeless work.
This movie was a visual, character driven movie of superior quality,
This movie was a visual, character driven movie of superior quality, even for Steven Speilberg. Some say that Speilberg has too much the eye of a child, but I tend to disagree. Too many filmmakers today are producing slick, throw away action flicks that at first seem promising but eventually fall into predictable, fluff and special effects laden, thinly plotted, dialogue-poor, characterless movies that are gone before the popcorn. Yes, this film has a lot of great Special Effects (So did Schindler’s List.) Moreover, a lot of great action to keep the story pace from dragging. The idea of a movie is for the actors and directors to show their stuff (Hopefully around some good writing.) This movie did it for me. I have to agree with all those who praised Christian Bale for his performance in this movie. He was brilliant. In addition, I got to see Ben Stiller in an unusual role for him. I thought that John Malcovitch acted perfectly for this film and yes he was a Han Solo/Indiana Jones character, but with even less depth. His role was pivotal only in so far as it affected the boy. We were not as concerned with his character in so much as his shadow was cast on Jim through out the movie. The war was bigger than this little boy was and it was exquisitely done. Steven Speilberg gives us wonder, mystery, action, adventure and history in everything he does. He’s the consummate filmmaker.
Over-the-top drama that is good looking and well acted but that I never really enjoyed watching.
Just because the movie is good looking and directed by one of the best movie directors of all time doesn’t automatically mean that the movie itself is good as well. “Empire of the Sun” has a slow story that isn’t always told from the right perspective.
Really the biggest problem of the movie is the perspective it is told from. The entire movie is told through the eyes of a child played by a young Christian Bale. Sure, Christian Bale is a great actor and he now is Batman and all, so people will only love him more in this movie now but that doesn’t all mean that Christian Bale as a kid was good and strong enough to carry an entire movie on his own. And this movie is really about Christian Bale’s character alone. There is nothing wrong with telling a story through the eyes of a child and it can work really powerful but a movie like that also needs a good supporting adult cast to give the movie more credibility and give the movie some more characters to relate with. The movie does has a great supporting cast (John Malkovich, Miranda Richardson, Joe Pantoliano and a young and ‘serious’ Ben Stiller in an early role.) but none of these actors are used consistent enough in the movie, with as a result that Christian Bale has to carry the entire movie on its own.
Visually the movie is really spectacular to look at. The cinematography by Allen Daviau is magnificent and there are some well directed and good looking sequences in the movie. Also lets please not forget the brilliant musical score by John Williams that makes some of the sequences work extremely well and gives the movie some extra boost and power.
The movie is not always correctly paced and there are some death moments in the movie were nothing really interesting ever happens. The movie does concentrate well on the emotions and feelings of especially the young boy Jim/Jamie but that doesn’t always make the movie interesting to watch. It has never really been a movie that I particularly enjoyed watching, because of the at times low pace and narrow minded and very one-person sided perspective the movie is told from.
In its emotions and dramatic moments, the movie really goes over-the-top at times. The movie can be seen as an over-dramatized one that doesn’t always is believable in its story. There is some typical and predictable Spielberg sentimental stuff in the movie. The over-the-top level of this movie does provide the movie with some wonderful and unforgettable sequences but at the same time its a killer for the story and the movie its credibility.
Yes the movie is perfectly watchable and its beautiful looking and all but the story and perspective makes this not really a movie that I like to watch. One of Spielberg’s lesser movies. I’m sure that the book is great though! But the story doesn’t really work in a movie.
Original Language en
Runtime 2 hr 33 min (153 min)
Genre Action, Drama, History, War
Director Steven Spielberg
Writer Tom Stoppard (screenplay), J.G. Ballard (novel)
Actors Christian Bale, John Malkovich, Miranda Richardson, Nigel Havers
Country USA, UK
Awards Nominated for 6 Oscars. Another 13 wins & 11 nominations.
Production Company Warner Brothers/Seven Arts
Sound Mix 70 mm 6-Track (70 mm prints), Dolby (35 mm prints)
Aspect Ratio 1.66 : 1 (negative ratio), 1.85 : 1 (theatrical ratio)
Camera Arriflex 35-III, Panavision Ultra Speed MKII and Cooke Lenses, Panavision Panaflex Gold, Panavision Primo, Ultra Speed MKII and Cooke Lenses
Laboratory Technicolor, London, UK (color)
Film Length 4,183 m (Sweden)
Negative Format 35 mm (Eastman 125T 5247, 400T 5294, 250D 5297)
Cinematographic Process Spherical
Printed Film Format 35 mm (Eastman 5384), 70 mm (blow-up) (Eastman 5384)