Empire of the Sun


It may be a testament to how impressed I was with Batman Begins that I have begun digging up earlier films by the guys who made that movie. A few days ago I finally got around to watching director Christopher Nolan’s first film, Following (1998), and then yesterday, I borrowed Steven Spielberg’s Empire of the Sun (1987) from the library because I had not seen the film since it was brand new and I wanted to go back and remember what Christian Bale was like when he was first starting out as a child actor.

And gadzooks. Having seen Bale undergo such drastic physical transformations in his more recent films — from the rather buff star of American Psycho (2000) and Reign of Fire (2002; my review) to the alarmingly skeletal star of The Machinist (2004; my comments) and back again to the buff Dark Knight — it’s interesting to see how he has transformed, and yet remained utterly himself, in a more natural way, from childhood to adulthood.

Despite seeing the film only once, I did buy the soundtrack way back when, and I listened to it a lot about 10-15 years ago. It was interesting to hear those themes again, and in film order rather than album order, and to see the visuals that go with them.

And gosh, what visuals. They’re almost too good, in fact. I was 17 — half my age now, come to think of it — the other time I saw this film, and I remember thinking it was full of beautiful visuals and striking symbolism but I wasn’t sure what it all meant. FWIW, echoes of those thoughts still pass through my mind; some images are just so jaw-droppingly good that they take me out of the movie. You are so aware of Spielberg trying to impress you that you lose sight of what’s supposed to lie beneath these gestures.

The I-miss-my-mother stuff and composer John Williams’s use of the piano, especially in the early scenes, are like a premonition of A.I. Artificial Intelligence (2001; my BCCN review; my CT review; my Vancouver Sun article). And the way society goes nuts and people suddenly become selfish and Bale has to live on his own in the family home — taking advantage of the opportunity to break social conventions by riding his bike through the dining room, etc. — bring to mind the apocalyptic overtones of more recent Spielberg films like War of the Worlds (2005), albeit in a milder form. And of course, the World War II setting and the boy’s fascination with airplanes are right up Spielberg’s alley.

There is some interesting God-talk in this film, as there is in many of Spielberg’s films. Near the beginning, when everything’s still cozy, Bale suggests to his mother that God lives in our dreams and we live in his; shortly afterward, he tells one of his father’s friends that he’s an “atheist”. Then, near the very end, a character happens to die moments before an A-bomb goes off on the horizon, and Bale thinks it’s the character’s soul going up to heaven; when he hears later on that it was only a new kind of bomb, he describes it as a bright light in the sky, “like God taking a photograph.”

(And is there any spiritual significance to the song that Bale sings in the choir at the beginning of the film — a song that is reprised at several points later on? Are the lyrics available anywhere, I wonder? FWIW, there is also another song that plays over the closing credits — and in a few of the earlier scenes — in which the singers appear to repeat the word “Hallelujah” a fair bit.)

I had completely forgotten that Joe Pantoliano (who had played a bad guy in the Spielberg-produced The Goonies) and Ben Stiller (!) play John Malkovich’s sidekicks in the internment camp.

It is interesting to think that this film made less money than any other movie in Spielberg’s career, even after adjusting for inflation, with the sole exception of his theatrical debut, The Sugarland Express (1974). There have certainly been worse films in his ouevre. But this film came out at a time, between Indiana Jones sequels, when Spielberg was not yet recognized as a “serious director” — if anything, his previous film, The Color Purple (1985), while a box-office hit, may have convinced some people that Spielberg was a popcorn-movie maker who was merely posing as a “serious director” — plus its thunder may have been stolen by The Last Emperor, which, like Empire of the Sun, prided itself on being one of the first Hollywood movies produced in the People’s Republic of China, and which was released at almost exactly the same time, and which went on to sweep the Oscars.

The whole thing of a boy enjoying himself during the war was also a prominent theme in John Boorman’s Hope and Glory, which was also released that year — and that film was directed by a man who actually lived through the war — so who knows, that might have also contributed to Empire of the Sun‘s seeming redundancy.

About Peter T. Chattaway

Peter T. Chattaway was the regular film critic for BC Christian News from 1992 to 2011. In addition to his film column, which won multiple awards from the Evangelical Press Association, the Canadian Church Press and the Fellowship of Christian Newspapers, his news and opinion pieces have appeared in such publications as Books & Culture, Christianity Today, Bible Review and the Vancouver Sun. He also contributed essays to the books Re-Viewing The Passion: Mel Gibson’s Film and Its Critics (Palgrave Macmillan, 2004) and Scandalizing Jesus?: Kazantzakis’s The Last Temptation of Christ Fifty Years on (Continuum, 2005).

  • http://www.blogger.com/profile/14715376140228118442 Jeffrey Overstreet

    Next to Raiders of the Lost Ark, this is, for me, the most satisfying of Spielberg’s movies. Close Encounters is a close third. Every time I see “Empire of the Sun” I get more out of it. There’s just so much to savor.

  • http://www.blogger.com/profile/07395937367596387523 Peter T Chattaway

    Have you ever written a review of this film, Jeff? I’d be interested in reading it, if you have.

    FWIW, I have seen Close Encounters only once, and that was a long, long time ago. I’ve got to rent or borrow that one again, too.

  • Lance McLain

    Loved the St. George reference in your Reign of Fire review! :)

  • http://www.blogger.com/profile/05686611601652370376 Will

    The song you are referring to from Empire of the Sun is a Welch lullaby call Suo Gan. Here are the english words:

    Sleep, my baby, on my bosom,
    Warm and cozy, it will prove,
    Round thee mother’s arms are folding,
    In her heart a mother’s love.
    There shall no one come to harm thee,
    Naught shall ever break thy rest;
    Sleep, my darling babe, in quiet,
    Sleep on mother’s gentle breast.

    Sleep serenely, baby, slumber,
    Lovely baby, gently sleep;
    Tell me wherefore art thou smiling,
    Smiling sweetly in thy sleep?
    Do the angels smile in heaven
    When thy happy smile they see?
    Dost thou on them smile while slum’bring
    On my bosom peacefully.

    For another translation and a pretty midi version of the song, you can look here:

    http://www.contemplator.com/
    tunebook/wales/suogan.htm

    //Will//

  • http://www.blogger.com/profile/07939607542941500528 Brian Friesen

    Yes, a very strong film and one of Spielberg’s best. Most of his new ventures haven’t even come close to the unexpected and satisfying twists and turns in the journey of a character as Empire of the Sun does. Has there been a performance by a child this compelling in a movie since? The final images of the film invoke the sense of drifting that we imagine taking place in the main character past the last images we see of him. I love the way the film attempts to carry the audience on in this way beyond the end of the viewing of it.

    This was one of the first films I ever saw in the theater that left me speechless for a while after seeing it, and then thoughtful in the days following. The last half hour or so still seems to be a search for an ending (which is becoming Spielberg’s trade-mark) but I find it to fit the tone of the film here. There is much to be said for the difficulty of transitioning from time of war to time of peace, and the way that transition is played in this film is compelling part of the journey of the main character rather than a misguided scramble (for once).


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