Though produced and distributed by the highly-successful Huayi Brothers (The Banquet, A World without Thieves, Kekexili), Chen Daming’s One Foot off the Ground (OFOTG) isn’t conceived as a vehicle for Western film festivals. Rather, it presents a realistic and contemporary view of everyday life in China in contrast to the recent slough of fantasy films directed by other big name Chinese directors. “I wanted to show a different side of China,” says Chen, “something that you rarely see in Chinese films that make it outside of the country.”

Chen – a screenwriter/actor and Quentin Tarantino’s assistant-director on Kill Bill – wrote a strong script, later edited by Hollywood producer Chris Lee (Superman Returns). Lee describes the film as a Chinese version of Four Weddings and a Funeral – filled with emotional resonance and endearing quirky characters.

The story revolves round an out-of-work opera company, who are obliged to earn their living with a variety of odd jobs, including selling dogs with fake pedigrees, and training roosters for cock fights. No prima donnas, these characters are raw and leathery, a fact well-reflected in their nasal Kaifeng dialect. In the vein of Ning Hao’s Crazy Stone– a rollicking Sichuanese comedy about a band of thieves – the regional flavor adds spice and special meaning to this film.

“[OFOTG] is very Chinese,” says Chen, “but it also has very universal ingredients. It’s a strong character-driven film.” One that Chen is well-equipped to write.
His blowsy characters are informed by his own youthful experiences performing Peking Opera in Kaifeng – a third-tier city in Henan. At 17, he left home and toured China with an acting company, and later entered the Beijing Film Academy. After graduation he went to America, and worked in Hollywood for ten years.
Chen returned to Kaifeng in 2005, a full 20 years since he left town to make his mark in the world. OFTOG then, is in one sense a look back. A fond and wistful look back to Chen’s days with the Peking Opera and his memories of three good friends in the troupe.

Like many people who have been forced to adapt to changing circumstances in China, the three performers often stumble, but their years of hard training makes it a little easier to get a least one foot back on the ground.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
November 2006 issue