It is difficult to describe the atrocities that took place during the Rape of Nanking. One Western observer at the time wrote, “Rape! Rape! Rape! We estimate at least 1,000 cases a night, and many by day.” Another wrote to his family, “I could go on for pages telling of cases of rape and brutality almost beyond belief.” John Rabe, a German who was in charge of the safety zone that sheltered too few of the Chinese, wrote, “You hear nothing but rape.” Some of the atrocities — soldiers who had given up their arms slaughtered by the Japanese army, civilians massacred with no reason — are shown in the Chinese film “City of Life and Death.” These are hard enough to watch, without thinking of what has been left out because of the censors. It’s a mostly matter-of-fact look at the events of December 1937 and January 1938, when Japanese soldiers took the then-capital of the Republic of China, Nanking. The first part is a gripping war film, as a few resistant Chinese (the leader is played by Liu Ye) try their best to rout the Japanese. Their efforts are futile, of course, and soon the next stage of the film begins, more brutal than the war itself.
Rabe is a rare Nazi party member who looks good in comparison with these occupiers; he’s played here by John Paisley. He cannot stop the Japanese soldiers from forcibly entering the safety zone intent on committing rape. Women start cutting their hair and dressing like men to avoid rape or being chosen as a “comfort woman” to service the soldiers. The beautiful prostitute Xiao Jiang (Jiang Yiyan) refuses; she’s thinking of her livelihood after the war.
| On screen |
| ‘City of Life and Death’ |
| 4.5 out of 5 stars |
| Stars: Ye Liu, Wei Fan, Hideo Nakaizumi |
| Director: Chuan Lu |
| Rated: R for wartime violence and atrocities including sexual assault, and for some sexuality and brief nudity |
| Running time: 132 minutes |
There is one Japanese soldier troubled by the actions of his comrades. But he’s helpless to stop the atrocities, which only seem to gain more momentum every day. Thousands of women died of their repeated rapes.
It seems strange to call “City of Life and Death” a beautiful film, but it’s well shot, with power and grace, in black and white. The performances, even of the extras, are all searing portrayals of fear, defiance, cruelty and guilt. It’s likely to end up one of the most potent films of the year, a reminder — as much as some would like to forget — of man’s brutality toward man, something that’s not limited to the members of the party of which the heroic Rabe belonged.
