The essence of mainstream Chinese cinema reflects in certain values and textures of the mythic. In Brothers, the ideal reflects back in the war in the 1920s between the nationalist and the communist factions in China. While the ideology is not specifically addressed, the specific story is integrated between two brothers indoctrinated into the army but ultimately through circumstance they find themselves on separate sides. The filmmaking structure of the technology according to the behind the scenes bonus features began in 2010 and the film was purely made on a stage with green screen. The look of the film reflects that mostly of “Sin City” and, to a lesser point, “300” (made in 2005 and 2006 respectively). Creating whole battle sequences on water and on mountains in this way is interesting but obviously labor intensive as the film didn’t come out until 2016. The conflict involves the older brother Wang and the younger brother Chen coming to terms with the men they have become and their loyalty to those they serve. The underlying narrative structure involves Chen being assigned after a particularly brutal battle to escort some female musicians to a place called High City for a performance. His brother, now part of an assassin squad, finds them and their conflict of ideals begins. While the dialogue is very matter of fact, the texture of the relationship makes definite sense as it does rouse to an almost blindsided conclusion until the resolution is structured. The bonus features also speak to the two actors’ approach to their perspective characters but the enclosed trailer does give away too much of the plot. “Brothers” shows the continually evolving market’s ability to try new things while remaining in certain element of mythic themes resonant to the individual.
By Tim Wassberg