THOMAS PODVIN’S FREELANCE WORK
Freelance writer - translator - Editor

http://www.food411.com/

China may boast one of the world’s greatest cuisines but that doesn’t mean some expatriated gourmets don’t long for home cooking. Who hasn’t dreamed of an Italian risotto, some crawling French cheese, a Swiss chocolate bar, a spoonful of handmade American peanut butter, or British-Indian inspired chutney? For those of you who admit to these cravings and more, follow the link to Food411.com, the ultimate Web food resource. Here you’ll find everything and anything related to the art of eating, including online suppliers of gourmet foods, breads, coffee, wines, spices, as well as recipes, cooking lessons and even food blogs. But Food411.com provides more than a directory of reviewed and tested links to food-related websites, it uncovers unique gift ideas: unusual kitchen tools and products for the home. Of course, the most practical advice is left unsaid at this website: spend less time on the Internet and more in the kitchen.

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

This is a comprehensive, well-researched and accessible tome on Hong Kong cinema’s enfant terrible, Wong Kar-wai (In the Mood for Love). It could easily have been otherwise; Wong’s been in the business for 18 years, made eight feature films (As Tears Go; 2046), as well as several side projects; his career is full of contradictions and the author might have produced a book as impenetrable as the director himself. Thankfully, he hasn’t. This work provides some fascinating insights into Wong’s working methods and a clear and concise analysis of his contribution to cinema. Stephen Teo is a filmmaker, critic, and film historian; as such, his tone is authoritative and entertaining. The author sweeps aside the rumors and speculation that surrounds Wong’s career. For example, he reveals how the director’s notorious ‘shooting without script’ approach to filmmaking it is not all improvisational. He also examines the primary influences on Wong’s work: South American novelists for the plot structure, and impressionist painters for the visuals. For the record, during production, Wong actually shoots in the daytime and works on the script at night. Once you’ve read this book, you’ll view Wong’s oeuvre in a new light.
BFI/available at http://www.bfi.org.uk

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

For some observers, the tremendous expansion of China’s economy in the 21st century is an enigma second only to that of the Bermuda Triangle. Explaining that mystery is the focus of Chinese commentator/business strategist George Zhibin Gu’s second book: China’s Global Reach. Unfortunately, his analysis is rather superficial. Worse still, the book’s subject matter is presented without logic, clarity or style, although it does contain some interesting, if a tad sensationalist, case studies. And some rather bold swipes at the conventional wisdom. He explains that China’s an attractive market for international companies, but many players underestimate the challenge here, and find themselves out of their depth. Another passage reveals that many people are scared of China altering the global balance of trade, in their disfavor; yet the author states that Chinese companies are far from ready to compete in the international market. In general, what the writer does best is raise some significant questions – a pity, then, that he moves on too quickly from one topic to the next without providing concrete evidence for his arguments.
Trafford

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

Established fifteen years ago, Jogoya remains one of the most fashionable restaurants in Taiwan. Customers can enjoy elegant fusion cuisine in an unusual setting that combines hi-tech and the traditional. Their new menu offers just the sort of thing you’d expect to find in these surroundings: polished, groove heavy relaxing fare with an Oriental flavor. This two CD release (the second disc remixes the first), Jogoya assembles a 14 course bill – a mish-mash of Indian vocals, Europeans beats and Thai and Chinese sounds. This sounds like a recipe for indigestion, and as one might expect the quality varies. For starters, Karunes’s "Solitude" makes for a pleasant Indian dish, while Phak Rattap Khan’s "Hari Hara" is more a sickly downtempo appetizer. The Shakamunyi’s "Tantra" is altogether delicious and Edson X & MA3’s "Rhada Krishna" makes a delightful main course with traditional Indian flute with drums. Atman’s "Distant Voices" is just another Indian groove cut and as such too much to swallow. At this stage, the listener needs a strong liqueur before tasting the remaining courses; unfortunately, a digestive is not on offer.
High Note Records

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

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

Shanghai jazz clubs have flourished of late, but the scene is still struggling to find an identity. Yes, there is plenty of jazz, but not much of it is distinctive. Until now, perhaps. Jazz Revolution has fused Western jazz with Chinese melody (or maybe vice versa) and come up with something that soundsunique, what one might call the Shanghai Sound. This band of four – two Aussies and two Chinese – offers a new interpretation of material that has entered the collective musical psyche. For instance, they have recorded a languid jazzy rendition of Faye Wong’s “Sky”, and a reggae version of “Shanghai Talk”, a song from the famous Chinese TV-series Shanghai Tan. True, this approach will appeal more to Chinese listeners, and perhaps less to foreigners unfamiliar with these tunes. And some cuts unfortunately sound like Kenny G on a good day (Baroque with Me). But all in all, when the combination works, it works well (What a Wonderful World, Open Sea). The band’s real genius, and its originality, is most apparent in the trumpet solos, soulful vocals and on tracks that feature improvisation. “Feng Shui”, the first original composition on the album, features a traditional jazz structure and has a strong urban feel (a jazz anthem for the city?). By the way, a percentage of this album’s proceeds will be donated to a children’s charity organization. So do your part and support the revolution.
Orientalsky/Starsing Records

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

Milk@coffee is the sort of act that defies categorization; indeed, their style of music varies from one cut to the next. Much like adding milk to coffee, the result depends on the mix. Add just a little milk, and the coffee remains strong and bitter; add more and it becomes sweet and creamy. However, this Chinese band has more than two elements, and the mix of vocals, keyboards, samplers, electric guitar and break beats, provides endless variations. The tracks on this release combine pop rock, easy listening, new wave, trip hop and downtempo beats infused with the moody and mellow vocals of lead singer/songwriter Kiki. One might say she provides the milk, while keyboardist/producer/singer Gefei furnishes the coffee. In short, his yang is nicely balanced by her yin. The ‘@’ in the middle of the band’s name, suggest their use of the latest technology (computer game sound effects). It also hints at the origins of the pair’s union – on an Internet chat line. In any case, this low fat milk and home brewed java combination on the Beijing-based label Modernsky, is just the stuff for your next coffee klatch. Shuang!
Modernsky

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

Purity of sound is not in fashion these days; most bands prefer a musical stew. And Luxia is no exception with their eclectic blend of electronica, vocals, jazz and bossa nova. The project combines the talents of Jon Kingsley Hall and Peter George Stewart with co-production credit to Australian DJ Steve Hill and Mat Cook and vocals by Tiffany Nan Brace. It was conceived when Brace met with producer Hall at a music therapy workshop, and she proved that her powerful voice could compete with Hall’s beats. Indeed, her very emotional vocals are the most attractive features of Luxia’s sound (more compelling than Alexis Hart’s or Tom Ecologist’s). Though soulful, she can hardly be called melodramatic; the sound is much livelier than Portishead and less narcissistic than Bjork, for instance. Stewart and Hill’s production skills add a certain slickness, the lineage of which can be traced back to synth-pop Brit act, Kissing the Pink, Swedish/Danish DJ Stonebridge and French electronic artist St Germain. Like St Germain, Luxia’s beats provide the foundation upon which musical textures can grow, which make this music more suitable for the lounge, than the dance floor. Especially “Cool Mountain” and, “I Feel So Good” with their Nu/Soul jazz, trip hop, Bossa Nova sound; this is mellow, urban music at its best.
High Note Records

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

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

As the title suggests, this release is one part sexual innuendo and one part black humor. Formed in 1998, the Black Eyed Peas is an American multi-ethnic quartet that currently features three male rappers (a Jamaican-American, a Filipino, and a Mexican) and the very fit Californian female, Fergie. This is their fourth album, and their best effort to date. Most of the cuts feature musical dialogues between the boys and the girl, i.e. seductive word games with explicit lyrics. Take the anthem “Don’t Phunk with My Heart”; here, the lads express their interest in Fergie, who is not at all assured that intentions are honorable. The ambiguous nature of the lyrics has caused some US radio stations to play an edited version: “Don’t Mess with My Heart”. Another witty number, “My Humps” complains about women who use their looks to part men from their money. The ‘humps’ and ‘lumps’ referred to in the song stand for Fergie’s bottom and bosom. The CD has many more of these hilarious (to some) alternative hiphop/rap pieces, as well as guest appearances from James Brown, Sting, Talib Kweli, Macy Gray and others. With four Grammy nominations, BEP appears unstoppable; they’ve even been contracted to write and perform a song for the 2006 FIFA World Cup. Now that should be a kick.
A&M

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

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

This is a come back album for the Florida quintet, who went from being the new kids on the block in late 1990s, to the old chips off the block in the early 2000s. Following their Grammy award in 1998, the boy band became extremely popular, mainly with young girls. They sold tons of albums, 87 million, to be exact. But fame, ego, and drug and alcohol problems resulted in the band’s breakup two years ago. Now the backstreet boys are back. This release, after a five-year hiatus, is the band’s fourth effort and perhaps their last chance to prove they still have the right stuff. They do. Never Gone sold over two million copies in seven days and went number one in America, Europe and Asia. This release has it all: catchy hooks across the musical spectrum – ballads ("I still…"), soft rock ("Just Want You to Know"), R&B ("My Beautiful Woman"), pop dance numbers ("Poster Girl"). All sung in the usual soothing, uplifting vocals. That said, after one listen, it all sounds about the same. But no matter. Fans loved The Boys concert in Shanghai last January 2006, proving they do have staying power.
Sony-BMG

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

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

At 52, Jackie Chan or Cheng Long (Dragon Cheng) has appeared in more films, in Asia and the West, than any other ten actors combined. As such, he merits the box set treatment and CAV Warner’s magnificent, limited edition, collector’s box (only 3,000 copies), includes a dragon t-shirt and four Chan films from the 90s – a transitional period when the actor journeyed to the West and in the process, lost something of his style. Fortunately, one of the films here is the excellent Drunken Master 2 (1994), his last Hong Kong Kung Fu movie. Rumble in the Bronx (1996) is also impressive, but it failed to establish Chan in the American market. The big-budget Mr. Nice Guy (1997) was a more successful effort to place Chan squarely in the US mainstream. In a similar vein, the entertaining, but cheap, Hong Kong/Aussie Who Am I? (1998) was a failed attempt to make the dragon an international star, at least, a respected international star. Chan is known throughout the world, and he has many admirers. Still, his later works, for example, the foul and unfunny US flicks, Rush Hour or Shanghai Knights, are sad reminders of what could have been. Note that this set doesn’t offer English subtitles; no matter, you can wear the t-shirt.
CAV Warner

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

If you think you know Pierce Brosnan, think again. The stylish, phlegmatic British gentleman, James Bond, is no more. In The Matador, Brosnan is Julian Noble, an unsavory hitman sent all over the world to ‘facilitate fatalities’. Noble is anything but. He’s an asocial, alcoholic, middle-age killer, whose social life is limited to nights with hookers. ‘Matador’ means ‘killer’ in Spanish, and killing is what Noble does best. But even hitman get the blues, and Noble suffers a middle-age crisis; he senses the shallowness of his life; becomes depressed; fails to do his job. Of course, this leads to some serious consequences. Despite the nature of the story, this is not an action film; rather, it is drama laced with black comedy. With a well-written script, a wicked soundtrack, great performances and slick photography, this film is a sure hit, if you’ll excuse the pun. The real draw though is Brosnan’s portrayal of an inept, sleazy killer, and it’s evident that the actor enjoyed the part, meticulously deconstructing his screen persona. Check out the scene in the posh hotel lobby and you’ll understand why he was nominated for Best Comedy Actor at the 2006 Golden Globe awards.
The Weinstein Company

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

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

For the past five years, Zhang Yimou has switched back and forth from action blockbusters with mass appeal to the more personal art-house film. His latest work falls in the latter category. Or does it? With a modest budget of RMB 56 million, this movie might best be described as an ‘art-house blockbuster’. It has been promoted and distributed like a blockbuster and has enough appeal to reach audiences across Asia and beyond. But at the same time, it’s the sort of work that will wow film-festival goers. The plot concerns a Japanese fisherman who travels thousands of miles to Yunnan province in search of a local opera performer who was supposed to sing for the fisherman’s terminally ill son. The story is an excuse to throw a taciturn Japanese guy - played by ‘Japanese Clint Eastwood’ Ken Takakura - into the Chinese countryside and see what happens. While the film has definite commercial potential (just ask the Yunnan tourism board), its also addresses father-son relationships and the culture gap in a thought-provoking manner. So is this hybrid a sign of what’s to come? Perhaps Zhang’s next flick, Autumn Remembrance, will be a ‘blockbuster art-house’ film.
Toho Company

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

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue

US films and TV series have long been inspired by real life confrontations, e.g., the Cold War and Vietnam, but Over There breaks new ground. It is the first show based on a war still in progress – the war in Iraq. Unlike some of its predecessors, this series doesn’t romanticize; rather it portrays the day to day violence without a trace of sentimentality. Over There follows an infantry platoon led by a savvy, battle-hardened sergeant. Indeed, he’s a good man to have around when one has to deal with insurgents and the military bureaucracy. This series is not a commercial for the military, or the US government. None of the parties involved are completely ‘good’ or ‘evil’ and no one has a solid claim on the truth. Yes, this is television, and though based on real events, the series is not a documentary. But it does feel realistic. War, as everyone knows, is terrible stuff and this series convincingly portrays the moral, physical and mental state of soldiers on both sides of the war. Patriotism is not an issue here; even hope is in short supply. The end credit sequence features a song with the lyric: “Someone has to die”. In fact, the show died in its second season. In Bush’s America, pessimism is not tolerated.
fX Network

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

This column is a part of a monthly contribution to the national daily China Youth Daily. It was published on March 28, 2006 and in the China Youth Daily Website. Originally written in English, it was translated into simplified Chinese by Joy Shao Jie.

English version:

Being romantic is a very blur concept, related to love and sexual desire. We usually believed some people are more romantic than others, like French or Italian. What about China? Are Chinese people romantic?

A question of perspective
One day, I saw a wedding ceremony in the garden of a posh Shanghai hotel. The Chinese bride wore a magnificent virginal western gown and was holding the arm of the Chinese groom in tuxedo. In the background, we could hear a French song called "Helene, Je m'appelle Helene" by Helene Rolles. It surely is a hit in China, as we keep hearing it anywhere. Many Chinese probably think it sounds romantic and perfect for the wedding. For any francophone, however, it hardly sounds romantic but probably cheesy, schmaltzy, sad and hopeless. Basically the song talks about a lonely girl longing for love and desperate to be taken for whom she is. The point is being romantic is a question of individual viewpoint as well as of cultural perspective. What is romantic for Chinese won't necessarily be romantic for French or British. Everybody in China sees Paris as the world capital of romanticism for instance. But what's really romantic about Paris? Ask a Parisian and he won't be able to answer.

Gesture of love
Everybody cherishes different ideas of romanticism, love and desirability. In the streets of China, love and romanticism are hardly perceptible. Men and women holding hands in public can be considered as bold in a society known for being prude. Chinese couples would hold hands as an indication of commitment whereas in the West, it's simply a sign of deep affection but not necessarily a pledge for long-lasting love.

In some places very much influenced by the West (in some chic districts of Shanghai for instance), you might as well spot two Chinese lovers intensively kissing and hugging. This sight is casual for foreigners, as love and affection are more openly expressed in western countries where girls are emancipated at an early age, men bolder to seduce them, and the sexual revolution took place decades ago. As a foreigner, I can see that the Chinese society has evolved rapidly; in two decades traditional morals have been diluted into global morals. Some women on street have adopted the western fashion; they wear tighter cloths and sometimes short skirts to appear more seductive. In another hand, men are bolder to show their feelings in public. Younger generations are more prone to follow the social behaviors of the Western world.

In subway stations and city centers I was half surprised to see so many advertisement posters for foreign designer underwear with models in sensual poses exposing a great deal of flesh. The ads aim at local customers already open to an occidental vision of love and sex. A bra isn't only an undergarment, but a seduction tool. But these models are all Westerners; you cannot expect too much too quickly. Chinese cannot see yet their peers showing some extra bits of skin in public. People unconsciously tend to stick to an image of a pure Chinese girl who perhaps should be asexualized, or at least never be the object of sexual desire.

But what you see is probably the tip of the iceberg. A female Hong-Kong filmmaker who's lived in New York once told me that American women are proud to be considered as sexy sometimes free-spirited or libertine. But when it comes to act they¡¯re in fact very much prudish. On the contrary, Chinese women are discreet and hide their sex appeal, but can become wild romantic partners. The TV-series "I Am Really Desperate for Love," a Chinese equivalent of "Sex and the City" directed by Liu Xin Gang offers a fair example of what modern Chinese women are capable of.

Gesture from the heart
More and more Chinese tend to adopt the Western conception of romanticism. Valentine's Day has been fashionable in Shanghai lately. It's a European Christian holiday to exchange tokens of affection. But do you only think of your partner on February 14th (or for qi xi)? Is it really romantic? As a Frenchman I think it's not so original to do as many other people do, like buying flowers and chocolate on Valentine's Day. You can celebrate your love any other day of the year. If one hasn't taken care of his lover the remaining 364 days of the year, chocolate and flowers are more indications of guilt than tokens of love.

Love should fuel the imagination: Partners ought to be creative to find a genuine gesture from the bottom of the heart. Being romantic is also being original. It's to offer something unique to be cherished by the other. Romanticism is an unselfish expression of the heart to prove your feelings to the other. This is also what Love is all about.

China Youth Daily

(c) China Youth Daily/Thomas Podvin
March 28, 2006

Kung Fu movies aren’t famous for providing anything more than kicks, back flips and thrills, but Fearless breaks the mold; indeed, it is a movie with a message. Produced by and starring Jet Li, this film tells the true story of Tianjin-born Master Huo Yuanjia (1869-1910), the heroic founder of the Jing Wu Sports Federation. In Shanghai, in the first decade of the last century, Hou set out to prove the superiority of his (and China’s) martial arts. He challenged all comers and in doing so earned the respect of some of the most ruthless and brutal opponents ever to appear in the ring (the fight scenes are extraordinary, choreographed by Yuen Woo-ping [the Matrix]). But there’s more to this movie than action. Huo’s motto was: ‘Never give up’ – even when he lost a fight, he came out a winner. Li seconds the motion. Like Huo, he also founded an organization with a noble aim, the One Foundation which offers support to the suicidal. Its message: ‘Life is worth living’. And Fearless, both for its cinematic qualities and uplifting message, is worth seeing. Indeed, it is the best Kung Fu film we’ve seen in years.
Columbia Tristar Asia

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

(c)that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
March 2006 issue