#all their journeys feel absolutely vital in the show and its so beautifully executed

[itsza]

YOUVE SEEN WE ARE LADY PARTS ⁉️

YESSS!!! it was a very entertaining watch! it felt really good to be able to see parts of myself in the diff characters. I liked how the show didn't introduce any unnecessary conflicts at the last moment. As a brown girl i hope more such shows are made and im looking forward to season 2!

[cybernaght]

The Rebel/叛逆者: A Review of Sorts

After being only semi-invested in the Rebel, I ended up getting so into it in the final weeks of its release, I’ve shelled out on IQIYI premium just to get the final couple of episodes a few days earlier.

That’s right kids, it’s a Review of Sorts. Unfortunately, I could not find a translation of the novella the drama is based on, so will be looking at it as a separate entity. 

Most of this post is spoiler-free, however I have dedicated a few paragraphs at the end of it to discussing the final episode, as there are a few specific things about it I wanted to mention. There is a clear spoiler warning before that part.

If you don’t want to risk it, TL;DR version of this review goes something like this: Rebel is very decent, and positively one of the best things that I have seen to come out of China since I’ve jumped into that particular rabbit hole. It’s pretty well written, it’s very beautifully dressed and shot, and the cast is killing it. I thought it dropped the ball a little in post production, and I did not always love the pacing. Other than that, it’s incredibly decent, and well worth watching, unless communist propaganda really irks you, in which case stay very well away. 

I have been having many conversations with @supernovasimplicity​ all the way through watching this drama, so there are likely to be some thoughts here that are influenced by those. 

The story centers around Lin Nansheng, a struggling servicemen in the Guomingdang party. He has a great analytical mind, and absolutely no emotional capacity for his job. He has trouble handling violence, he is impulsive, he cannot speak to his superiors without bursting into tears, and has nothing even remotely resembling a poker face. And that is what makes this drama as enjoyable as it is. 

I don’t think Lin Nansheng’s journey would have been nearly as exciting had he started it from a place of competence. He botches up everything he touches because his big brain switches off the moment his emotions kick in. And so, when you see him grow in confidence, learn to control himself, learn to fake his smiles and compliments, you can’t help but feel a strange sense of pride. It also makes Lin Nansheng very likeable as a character for reasons other than Zhu Yilong’s ability to look like a bush baby.

It did take me a while to feel fully engaged with his performance - not because there is anything lacking in it, but just because it’s hard to be truly surprised by his choices after the exposure I have given myself to his work. That said, at about a half-way point I got charmed by him anyway, and there were quite a few scenes that were truly mesmerising. There were scenes where he broke out of the familiar mould of big unguarded eyes and fluttering wet eyelashes, and tried something that was not pretty: every time to a great success. I am hoping to see more of that in his future work. 

I really wanted to like the female lead, Zhu Yizhen, but unfortunately both the way she was written and the way she was performed by Tong Yao left me somewhat cold. It did not help of course that the screenplay ended up sidelining her at every turn, leaving her with very little personal agency. She was set up so interestingly, but in the end her sole purpose became being someone for Lin Nansheng to pine over. It is particularly curious from a perspective of meta storytelling: seeing how this is all centered around superiority of communism, which as a whole was, arguably, ahead of its time in the matters of binary gender equality.

The ensemble cast of the drama is stunning. Wang Yang came very close to  stealing the show at several points as Chen Moqun, somehow managing to make his rather unlikeable character interesting. I can say the same thing about Zhu Zhu who absolutely shined as Lin Xinjie, showing an incredible range and imagination in her performance.

The overarching story of the show is engaging, with some incredibly suspenseful elements; every narrative arc including a nice progression through it. As spy thrillers go, it was fairly well plotted. You could if you go looking for a few things that did not pay off in a satisfying way (notably, the Chekhov’s cyanide capsule), but you overall the story really was well told for the most of it. 

I did, however, feel like the pacing started to fall apart in the last quarter of the drama. Last episode in particular really did feel rushed, not just due to its pace, but also in a way it failed to pay off the final mission in any visible way. There will be more on that in the spoiler section of this post.

Important to note that The Rebel is a show made in Communist China in the year 2021. It does not ideologically side-step from the path that was laid out for it by that fact. Which is to say, it is, undeniably, filled with propaganda. Communists are the good guys, and if you think a good guy (or gal) is not a communist, they probably secretly are. With one exception of a friendly character who is not a communist, and whose fate we actually never find out. Curious, that. 

The Rebel is not a kind of a show where censorship-appeasing scenes are shoehorned in. It’s a kind of a show in which the main theme is Sacrifice For the Party.

Aside from the being the moral vector of the show, Mao’s gentle teachings explicitly help get Ling Nansheng out of prolonged depression following his injury, and almost annoyingly, this sat incredibly well with the character, as he was written. Lin Nansheng is conceived as this naive idealist who wants to be on the front line, who needs validation and support of others. His - and I can’t believe I’m saying this - his being disillusioned in his beliefs and choosing to join a party which includes people whom he likes and trusts makes sense. Him finding this one thing that gives him hope and letting it propel him into gaining confidence and competence makes sense. 

In many ways, the Rebel is a story of Lin Nansheng’s failure to become an antagonist within the world of the drama.

I have honestly spent this past couple of weeks pondering whether being well written makes political propaganda better or worse, whether the subtlety of it makes it more or less palatable, whether it’s enough, as a viewer, to be aware of it to shrug it off. Ultimately, this is not something I could or should make moral judgements on, but I do believe that it’s possible to acknowledge the fact that propaganda exists in the drama, and still appreciate it for a good piece of television that it is. 

That said, I am very well aware that me being kind of okay with it stems entirely from my own removal from the culture this is made in, and I am, perhaps, lucky to even have a choice as to whether I want to engage with a product which is, undoubtably, here to dress political ideology in fancy clothes.

I have, on the other hand, also seen many things in Russian media of the “Annexation of Crimea is Good Actually” variety and those make me feel very unwell, so feeling somewhat at ease with blatant political propaganda in Chinese media makes me the biggest hypocrite.

But, I digress.

Before we go into some specific plot-related things, I would like to mention that the Rebel has this weird dichotomy in which the production is sublime, and the post-production… not so much. The show very well shot. Every element of it sits perfectly together, not a single prop out of place, not a single extra underdressed, not a page of script not put to good use. It’s lit to perfection. It’s scored beautifully. So much of this show is just stunning.

And then… there is post-production. 

This is not even about bad CGI (and the CGI is, indeed, bad), it’s just that most of post-production as a whole feels rushed.

Starting with surprisingly imperfect editing, which at times just fails to make the scene flow together. The final line of dialogue would be spoken within a scene, and it would fade to black instantly without a single breath to indicate a full stop. A montage sequence would be created, but every shot within it condensed to a second, making it feel incredibly fast-paced when the effect should be the opposite. There would be a cut away from a speaking character and to the same speaking character from a slightly different angle, making it dynamic without any reason to do so. There are a couple of truly startling jump-cuts.

I did not speed this gif up. This is part of a romantic montage, edited like it’s a goddamn action sequence.

And of course dear old friend slowing down footage shot at 24FPS. Please don’t do this. You think no one notices - but we do.

There are other tell-tale signs of production rushing to the finish line: occasional, but very noticeable ADR glitches, very sloppy job done at sound mixing, which contribute to parts of the show feeling ever so slightly off.

It’s not unforgivable, but it does make me wish the same amount of care and efforts that went into shooting this drama would also go into it after it was all in the can. 

Oh, and just because if you know me you know I have a professional fixation on fights, and I am happy to say most action scenes are toe-curlingly delightful. Hot damn those fights are good. I am absolutely in love with the shot below, for example. Placing an actor behind a piece of set so he can exchange places with the stunt double during a one shot is such an old trick, but the execution, timing and camerawork are just... flawless. This is what perfection looks like.

Now we got all that out of the way...

SPOILERS FOR THE SERIES FINALE BELOW

Here’s the thing. I wanted to love the ending and I found that I could not.

The final mission was presented as important, and honestly the scene in which Zhu Yizhen is sending the vital message out as Lin Nansheng holds his ground in hand to hand fight is incredibly dynamic. Party, this is due to the fight itself being incredibly well choreographed, yes, but it’s also where it sits within the narrative, how high the stakes are for everything surrounding it. 

But then, the tension all but bleeds out. The Important Message is sent, the fight is won, and we are treated to ten minutes of a very slow car chase, problem of which is not even its speed as much as its placing within the story. As in, by this point both of those operatives have lost their cover, and completed their Very Important Mission. It would be very sad if they died, but their survival does not technically contribute to their cause. Moreover, Zhu Yizhen getting mortally injured in order to protect Lin Nansheng as part of her mission read a little empty when the mission is technically over. 

While I personally found Lin Nansheng slow recuperation and his low key ending enjoyable, I think I would have preferred to have seen a more tangible pay-off to all the sacrifices made in the name of “bright communist future”, just a little more justification for every moment of death and despair we witnessed. I would have certainly at the very least preferred to see Wang Shi’an’s death on screen. Considering how many likeable characters martyred themselves on screen, denying us the death of the one antagonist just seemed cruel. 

I really did love the ambiguity of the final few scenes however, if we consider the children choir at the end a fantasy. The idea that Lin Nansheng will live out his life in this hope that Zhu Yizhen is still alive, imagining her just outside of his field of vision, his only joy being in this fantasy of her… now, that is incredibly strong. I equally like the idea of rest being promised to him at the end of his journey, and said rest being painful, and slow and unwelcome.

But it felt like as they chose not to to lean into the “sweet” part of the bitter-sweet tone of the ending and we’re unable not commit to the “bitter” part either, so it lands with a splat which is somewhat lacklustre. 

---

This concludes my thoughts on the Rebel. 

I am more or less out of Zhu Yilong’s filmography to watch, which is probably a good thing at this point. I have just emerged out of several back to back work projects - literally today - and will hopefully once more have time for things I grew to enjoy doing during the lockdown. 

Those things, if you have not guessed, include watching Chinese television and writing things about Chinese television. 

[thesweatystudententhusiastfan]

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