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

Film noir fell out of favor in France for much of the last two decades. However, recent movies such as Crimson Rivers, The Nest, Cash Truck and 36 Quai des Orfevres have proved that audiences are still willing to support the genre.
The latter is probably the best of its kind since Alain Delon and Jean-Paul Belmondo won worldwide acclaim as archetypical noir heroes. Indeed, it is so good that it may very well herald a new wave of French-action thrillers.
After a moderate success with his debut movie Gangster, director Olivier Marchal, a former French cop, has moved up to A-level production, with big stars (Gerard Depardieu and Daniel Auteuil) and a relatively big budget of USD 14.5 million.
As the title indicates (the address of the Paris Criminal Investigations Division), Marchal's film is rooted in reality. The director is a former cop and the plot of 36 Quai Des Orfèvres is based on the experiences of Dominique Loiseau (who co-wrote the script), a former member of the BRI (Brigade de Recherche et d'Intervention, the 'anti-gang' squad) in the mid-eighties.
This film was nominated for eight Césars, the French Oscar equivalent, and except for the story's inability to surprise, until the very end at least, 36 Quai des Orfèvres scores on every front. A gripping tribute to the genre and to the long tradition of French gangster movies that should be revived once and for all.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

If you liked Ocean's 11, you won't necessarily like the sequel. Of course, most sequels fail to equal the original and few surpass it. Ocean's 12 is no exception. Still, fans of the first caper movie, craving more of the same, will have to try hard to be amused. And in their interest, we offer a few tips.
1. Expect no more than two facial expressions from the star, George Clooney (a wink and a smirk), expect Brad Pitt to act the playboy and expect Julia Roberts to impersonate herself.
2. Switch off your brain. Do not try to make sense of the 'plot'. After this mental adjustment, you may relax and enjoy the movie, maybe even as much as the actors enjoyed making it (they enjoyed a paid vacation in various parts of globe).
3. Look out for French actor Vincent Cassel, who delivers an impressive performance as the Brazilian capoeira artist and provides the film's most exciting moment.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

Confucius, also known as Zhong Ni, is one of the most famous thinkers of all time. Born approximately 2,500 years ago, he spent most of his life as a student and teacher, a teacher who imparted knowledge to everyone, regardless of their social status or origins. A disciple of Lao Zi, the founder of Taoism and one of China's most influential philosophers, Confucius' words were recorded in a number of classis texts (Spring and Autumn Annals). As well as being a fearless fighter and magnanimous politician, he mastered the 'six skills' comprising ritual, music, archery, driving, reading/writing and arithmetic, and devoted his life to restoring the Rites of Zhou in order to bring political guidance and peace to his homeland.
This graphic novel reveals insights into ancient Chinese society and details the various stages of Confucius life. Who said that comic books only entertain? This work proves that they are a source of profound thought as well.

Legend of the Laughing Buddha and Confucius, Life of the Great Humanist are distributed in China by CNPIEC (86-10-65082324; Irj@cnpiec.com.cn)

(c) that's Shanghai Magazine
Chief editor: Steven Crane
Book courtesy Asiapac Books
August 2005 issue

Westerners often struggle to grasp the complex concepts of Oriental religions and philosophies. Well, struggle no more. Singapore-based publisher Asiapac Books has produced a brilliant series of graphic books that put wisdom within the reach of even the least metaphysical reader. Take the Buddha, for instance, a world renowned figure associated with wisdom, magnanimity and rectitude. Legend of the Laughing Buddha reveals a new aspect of this deity, wherein the constantly smiling reincarnation of Maitreya carries a bulging sack over his shoulders, spreading happiness, abundance and contentment to all those he encounters. Of course, he still retains his pot belly, symbolizing joy, good fortune and generosity. Set in ancient China, this graphic novel is well written and of great help in understanding Buddhist thoughts. Readers of any age, and from any background, will delight in the illustrations and learn from the message so entertainingly presented here.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
Book courtesy Asiapac Books
August 2005 issue

So what's in a name? This band's moniker was borrowed from Haruki Murakami's novel Hardboiled Wonderland and the End of the World. But which version? Various translations of the book gave the band three choices: Cold Fairyland, Cool Fairyland and even Frozen Fairyland. At different times, they have used them all. "The name Cold Fairyland already carries a contradiction," explains singer/composer Lin Di, "and that's the feeling we want to deliver to the audience."
In Shanghai's relatively unsophisticated alternative music scene, Cold Fairyland, stands out. Arguably, the most original ensemble in the city, this quintet cultivates an image of ambiguity. In a recent gig at Creek Art's damp and dusty warehouse, the band offered a blend of guitars, drums, pipa and cello, accompanied by all-but-indecipherable vocals, that was impossible to pigeonhole.
"Typical Shanghai bands make posh fashionable music, but I think we bring a deeper meaning," Lin tells that's.
Formed in 2001, Cold Fairyland has just two unofficial releases to its credit: Flying and The Zoon of Stranger (only available on their website www.miyadudu.com). Composer, lead vocalist, pipa and keyboard player, Lin is the band's creative muse and the only band member that's doesn't have a day job. In addition to her work with Cold Fairyland, she's released two solo albums in Taiwan, Ten Days in Magic Land and Bride of Legendin. Both CDs offer her take on 'world music' and have yet to be released on the Chinese mainland.
On stage the band performs her solo works and their own music, but the studio versions of Lin's solo work bear little relation to the band's live renditions. In concert, the tone is darker, much darker. "We want to express despair rather than hope," says Lin. "When both coexist, hope comes second; it is a comfort from pain."
Cold Fairyland's unique brand of music is miles away from the Britpop often favored by local bands. But Lin is at a loss to describe her style. "It belongs to Chinese-folk music mixed with other elements—it's hard for me to identify. We never follow a pattern," she says.
While many musicians resist labeling, Cold Fairyland is one of the few groups who legitimately cross genres — from one song to the next, their style is never the same. On stage, in just one set, they go from jazz improvisation to world music —stunning the audience with their seamless transformations.
Currently, the band plans to release a collection of tracks from the first two CDs, and is working on a CD for release in the US. Meanwhile Lin is preparing for her third-solo release, a Stone Age throw back, so to speak, employing the percussive sounds of wood and stone. Says Lin, "It will be more experimental and less accessible."
Once these projects are wrapped, the only thing that's certain, is that nothing is certain. "We are considering performing only instrumental tracks in a near future," says Lin.

Cold Fairyland will play on Aug 14 at Ark Live House, 15 North Block Xintiandi, 180 Taicang Lu (6326 8008)

(c) that's Shanghai Magazine
Chief editor: Steven Crane
Photo courtesy Hugo Hu www.huphoto.cdd.cn
August 2005 issue

"Many young, talented actors in Hong-Kong can do three flips and give three kicks in a row," said Kung-fu star Jackie Chan at the 8th Shanghai International Film Festival (SIFF) in June. "I am very impressed, but none of the producers want to bet on them!"
A major player in the film industry over the past four decades, Chan is getting a bit old for back flips but he knows the film business intimately. When Chan talks, people listen. And one of his biggest concerns is that this new generation of Chinese actors and directors lack industry support, without which, he fears, Chinese cinema will find it difficult to compete in both domestic and international markets.
"Nurturing new generations of moviemakers and actors should become a priority of the industry," stresses Chan. He hopes to set an example with his company JCE Movies, and has produced several films such as House of Fury and Rice Rhapsody with young actors and emerging directors. Despite his efforts, he remains worried about China's film industry: "I really don't know what will be the next step," says Chan.
One thing is clear; the future of the industry is likely to involve compromise on both sides, creative and commercial. True, the Chinese mainland is pulling ahead of Hong Kong in film production; the former released 212 films compared to 63 in Hong-Kong. But the challenges are the same. New filmmakers are under tremendous pressure from investors, stars and the media to play it safe. Few investors are willing to back novice directors, and even when they do they frequently insist on controlling the shape of the film. What's more, the field has become extremely competitive, just as investors have cooled towards the industry. As a result, young filmmakers have become more and more timid — one mistake and they're out of the biz.
Take award-winning Hong Kong filmmaker and actress Barbara Wong (Wong Chunchun), for example. Wong spent nine long months building a network of connections to finance her first project — A Carburetor for Suzy – some of whom wanted to make significant changes to her script. Says Wong, "You need to persevere and to talk to many producers, but shouldn't be influenced by others' opinions." Unlike her early non-mainstream work featuring relatively unknown actors, Wong's latest movie Six Strong Guys, starring Ekin Cheng and Chapman To, was a modest success at the box office.
But hiring 'names' is something of a doubled-edged sword. Many investors are more interested in the cast, than the script. For Chinese mainland director Lu Chuan, filmmaking is a power struggle. The first battle is to convince investors the project is commercially sound; the second is to maintain authority with often pompous and petulant stars. "I don't feel comfortable with stars," says Lu, recalling his directorial debut, Missing Gun, starring Jiang Wen. "I will never use a star that ruins the direction of my movies."
The Xinjiang-born director's second film, Kekexili, with a cast of unknown mainland actors, won many awards for its poignant story and minimalist cinematography. Indeed, awards are near essential for young directors. "The media are so picky," says Lu. "If you don't get an award you're a nobody." But making films to please festival judges, is no guarantee of commercial success.
Lu's latest project, Bian Jiang, will be shot in Shanghai in Shanghainese, and concerns a local teacher who travels to Xingjiang to teach English. To increase the film's commercial potential, Lu agreed to the producer's request to cast big names – on one condition, that he maintains full control of the process.

Special thanks to the organizers of the 8th Shanghai International Film Festival.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
August 2005 issue

http://www.snda.com

Chinese video game operator Shanda, founded in late 1999, has grown to become one of the biggest companies to offer online video game services . Shanda sells both imported games from around Asia, as well as home-grown products, including South Korea’s "The Legend of Mir II" and the Chinese "The World of Legend", the two most popular online games in China in 2003 and 2004.
Specializing in Massively Multiplayer Online Role-playing Games (MMORPG) (their latest release was the cute "Magic Land"), the company also offers less demanding entries ("The Three Kingdoms"), in addition to electronic chess and board games. The site also includes an entertainment/literature portal (stories based on magic fantasy, science fiction and online games), and also a network platform for online PC games (the classic "Warcraft"). In two words, Shanda is "geek heaven"!

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

http://www.oneaday.org
Without daily practice, the possibility of mastering Chinese is as remote as Mars. Which is why oneaday.org¡¯s concept, learn an idiom a day, is so wonderfully practical. Since its launch in September 2004, this minimalist site displays Chinese idioms with pinyin and English translation. In addition, it includes an archive section and a search engine, both of which are handy tools for increasing your colloquial vocabulary. Learn how to say "Better to be a piece of broken jade, than an unbroken tile" and impress your local friends.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

http://www.talesofoldchina.com/

You won’t find much about the complicated love/hate relationship between Westerners and Chinese people in history books. Which is a shame as these deeply-rooted patterns of interplay continue to affect the social behavior of both parties – and in much the same way. Tales of Old China attempts to decipher the complicated relationships between east and west of the past, poisoned, as they were, by arrogance and mutual incomprehension. This site provides an informative database of materials, in English, from 1840 to 1950. Required reading for modern, would-be colonialists, and anyone with an interest in China.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

Arguably, Germany gave birth to electronic music. As anyone who’s ever partied there can attest. Of course, electronic music has branched out considerably since its early days, from pounding house, to, well, Naomi’s unique brand of chill-out electronic pop. "Pappelallee is a slow and relaxed album," Nico Tobias, one-half of the Berlin-based band told that’s.
Before forming Naomi, Tobias and friend Bernd Lechler, gigged in separate bands, with little or no success. Fed up with straightforward songwriting (and no money), the pair decided to try their luck with electronic music.
"We started to play around with samples and drumloops and that's how Naomi started," says Lechler. Several tracks and remixes later, they perfected their now trademark sound with the release of their debut album Everyone Loves You in 2002. The single "Go", chosen for an Amnesty International TV spot and broadcast all over Germany, won instant success.
This second album, released in Shanghai by Hinote Records, is more personal and named after the street, "Pappelallee" or Poplar Alley" in Germany, where the band lives. The CD cover features a blue monkey face. Says Lechler, "There’s one song on the album called "King Kong Is Not Dead", and that title inspired our art designer to try out the monkey cover. Once you've seen it, you won't forget it."
"King Kong", along with "Fade Out" and "October", are as warm and consoling as a cup of coffee sipped in a comfortable armchair on a rainy day. Pop elements with acoustic guitars, melodeon, jazz ballads and a hint of reggae are thrown into an electronic universe. Vocals add another distinctive ingredient, and play an important part in the catchiness and accessibility of Naomi’s music. "Including vocals is natural for us," says Lechler. "We like to build instrumental tracks, but at the same time we are songwriters in our hearts, and that will always come through. Call us electronic songwriters."

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

This new Chinese release of Placebo's singles won't disappoint long-time fans or those new to the band’s brand of urban rock. Influenced by the Pixies and Iggy Pop, Placebo delivers a simple, but effective, blend of punk, pop, glam and alternative rock. With 17 tracks culled from four albums and listed in chronological order, this compilation provides an effective overview of their evolution after nearly a decade of recording.
From their debut album Placebo to the latest, more accessible (commercial?), Sleeping with Ghosts, Placebo’s music documents the band’s evolving state of mind: from teenage angst, sexual doubt and self-centeredness, to maturity.
In later tracks, listeners will notice that lead singer Brian Molko's voice has improved over the years, thanks to stage experience and a rocker's diet of booze and cigarettes. This record, however, is no cut and paste product, rather it's a reworking of their best tunes. For instance, on "Without You I am Nothing," Molko shares vocals with friend David Bowie, while the original "Protect Me" is swapped for a French version, "Protége Moi."
Two previously unreleased cuts, "I Do" and "Twenty Years" offer insight into the group’s future direction. Overall, this CD offers a great introduction to the band and provides enough fresh material for those who already have the first four releases. One question: where is the classic "Nancy Boy" that brought the boys to fame?

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

Once upon a time, singer-composer Lin Di met bass player Su Yong. Together they self-produced a demo album (Flying) under the name Cold Fairyland. Later on, the pair was joined by three other musicians they’d met and befriended in bars. For the last four years, the band has performed all around China and won fame, if not fortune, in the alternative scene.
In 2003, they released a demo album The Zoon of Stranger (available at www.miyadudu.com). Influenced by Portishead and Pink Floyd, their sound is similar to dream pop, but darker in tone and with the addition of folk elements, exemplified by the cello and pipa, for example. Their ethereal melodies blend feedback and sonic textures with indecipherable vocals akin to Faye Wong or the Cocteau Twins’ Elizabeth Frazer.
Lin Di also has a solo career, one that affords a living; she’s released three world-music albums on a Taiwanese label. The band performs both her solo work and their own music once a month at the ARK Live House in Xintiandi. Cold Fairyland offers all the proof you need that the Shanghai music scene is alive and kicking. With two new works scheduled for summer release, well, what can we say. Stay tuned…

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

When Brit Keith Gordon met American Jon Taylor, they established, with two laptops and a small keyboard, "Ryukyu Underground;" named after the Japanese Ryukyu Islands, where Okinawa is located. Obsessed with the sound of Okinawa, they blend subsonic bass, ambient sounds and beats with traditional Japanese vocals. This third release is a neatly packaged two-hour, two-CD florilegium of their best; remixed and rearranged by some of the best talent on the planet – Kid Loco, Junkie XL, Bill Laswell, Dub Farm, to name but a few – in studios around the world.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

On first listening to Oriental is Beautiful 2, which blends down-tempo grooves and lounge music with Indian and Tibetan influences, it seems the perfect compilation to load up after a wild night out. From Indian/Enigma sounds of Bocanada’s "Fuego", to the catchy percussion and hypnotic Tibetan vocals of David Visan and Michael Winter’s "Tamtra Tibet", to sitar samples and recurrent break beats of Badarali Kan’s "Black Night", this CD just gets better with repeated listenings.
Zeb’s "Romantic" is probably the most emblematic, catchy and delightful track on offer. Featuring Asian string and woodwind instruments and percussion mixed with electronic vibes, this cut pays tribute to its ancient roots with a rich modern sound. The CD bonus track, "Oriental Soft Mixed", includes prime cuts mixed and faded by DJ La Matt.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue

Twenty-eight years after the first installment, Georges Lucas ends his six- episode saga. Things have changed quite a bit in three decades. Good and evil were clear cut in episodes IV to VI, not so given the blurry politics in episodes I to III.
The latter series went to great length, explaining Anakin Skywalker's journey to become a Jedi knight, and how faced with doubts, he eventually switched to the dark side of the force. Of course, this is what audiences have been waiting for – the final explanation.
Most heroes are plain and dull, but Skywalker’s companions, and his strong-minded nemesis, add substance and excitement to the story. In this respect, Revenge of the Sith, with its fully-fleshed characters is the best of the last three installments, even if some loose ends from previous episodes are somewhat clumsily tied.

(c) that's Shanghai Magazine
Chief editor: Steven Crane
July 2005 issue