Re: Download Film China Gate Hai Full Movie
Vida Hubbert
Sergeant Brock and Goldie are American Korean War veterans now serving as French Foreign Legion mercenaries in the First Indochina War. Brock's wife is a "half caste" Chinese-European named "Lucky Legs" who resorts to smuggling to feed her five-year-old son she had with Brock. Brock abandoned her and the baby when he was born with Asian features, feeling a "half breed" would not be welcome in America; an attitude towards miscegenation prevalent at the time. Lucky is recruited by the French high command to use her expertise of the area and her connection to the communist Major Cham to get a demolition squad of Legionnaires led by Brock to a vital hidden Viet Minh ammunition dump on the border with Red China. In return for her services, Lucky is promised by the French that they will arrange for her five-year-old son's emigration to America.
The raid is filled with animosity between the former lovers, booby traps, and enemy patrols. On arrival at the ammunition dump hidden in a mountain, Lucky discovers the commanding officer is her former friend, Major Cham, who wants to take her and her son to a new life in Moscow. Cham is a high flyer corporate executive (in the manner of Fuller's gangsters in Underworld USA) marked for great things in the world of international communism. The sabotage mission is successful but at great cost, as Lucky dies blowing up the dump. Brock reconciles with his child and is last seen walking along holding his hand in preparation for returning to America, as Goldie reprises the title song.
Fuller selected singer Cole after being impressed with his face on a record album cover. Though Darryl F. Zanuck said Cole received more money in a few weeks than the entire budget of the film, Fuller arranged to meet Cole. Cole and his wife were interested in Goldie as an opposite to the racist Brock and agreed to work at a minimum salary.
An actual Eurasian actress playing a love interest opposite a white European star was a rarity in Hollywood at the time. Dickinson proves attractive to Brock, and to mainstream audiences of the time. Her character is allowed to express Fuller's view on race relations and is respected both by the French military and by a local priest whose life she had saved. (The character takes a role similar to Fuller's protagonists in Pickup on South Street and The Naked Kiss). The dangerous patrol allows for a gradual change of heart for Brock.
China Gate was the last score Victor Young composed; the film was finished by his friend Max Steiner. Harold Adamson wrote lyrics to Young's beautiful theme for the film. Though originally not intending to sing in the film, Cole sang China Gate as he walked through a bombed out village followed by Brock's little son, making it a memorable tune and a fitting tribute to Young.
Before China Gate was to be released, Fuller received a call from Romain Gary, the French Consul-General in Los Angeles, inviting him to lunch. Gary said the film's prologue was too harsh towards France and asked Fuller to change it. Fuller refused, but the two became firm friends with similar interests. The film was never released in France.
Gene Barry Angie Dickinson Nat King Cole Paul Dubov Lee Van Cleef George Givot Gerald Milton Neyle Morrow Marcel Dalio Maurice Marsac Warren Hsieh Paul Busch James Hong William Soo Hoo Walter Soo Hoo Sasha Harden Weaver Levy Suey Chan Charles Cirillo Paul King Esther Ying Lee Ziva Rodann Bill Saito Mabel Smaney Owen Song Kai J. Wong
La puerta de China, Las puertas rojas, Corredor hacia China, La porta della Cina, A Porta da China, Porte de Chine, China-Legionr, 关山劫, チャイナゲイト, No Umbral da China, 차이나 게이트
Now what is this, misguided agitprop, Fuller's direct attempt at political comment on the world's stage, a treatment on racism and acceptance or Fuller just making a noir inspired template of the "Dirty Dozen" merc action type film and marketing a Nat King Cole Record?
Having previously experimented in other genres with great results, Fuller now returns to the war genre, but with a larger budget and in cinemascope, which immediately allows the director to approach the genre in a slightly different way than before, while still adding romantic elements and creating a greater sense of adventure, which makes it, in my opinion, both of his most sappy and most thrilling films.
my favorite kind of awesome pulp adventure, with a bunch of shady and sweaty mercenaries on a deplorable mission into the humid hell-jungles of a pre-60s vietnam, each of them picked off one-by-one in sudden spurts of uncompromising violence, ultimately facing off against lee van cleef in one of his always-great badguy roles. two-fisted action and innuendos abound, with hyperbolic red-scare politics and subtly-nuanced race relations. sam fuller continues to prove himself as a master of cinemascope, and, even better, it's also black & white cinemascope, these oriental shadows are so thick and ornamental that they would even make von sternberg proud.
I'm too tired to hate anymore. It was all my fault, not yours. I'm really to blame. You knew all about me, but I didn't know all about you. Sure, you'd traveled all over the world, but you hadn't learned anything. Not where it counts. I should have investigated your heart and your brain. Should have seen you weren't adjusted yet. That you couldn't face facts that involve people. Oh, you're tough. You handle explosives, but you're not tough enough to handle life, Brock. That's where I made the mistake.
A key theme of Fuller is the separation of ideology from the individual. He presents stories of people who are at the whims of wider, political forces though they don't embody these stances. In Pickup on South Street, maybe his best picture, an individual is playing off one side of the Cold War against the other. The sides mean nothing to him, though, his own skin is what matters to him. These weighty, geopolitical concepts are important but individual lives persist beyond them. In China Gate, he takes this idea and places it on the battlefield.
China Gate is Samuel Fuller doing Samuel Fuller at a high score on the Samuel Fuller scale. It's consideration of geopolitical issues is nuanced and thoughtful, and I love it's overt attack on racism and intolerance. The performances are well above average and I like how the film fluctuates between brazen masculinity and moments of tenderness.
O que este filme exige de ns apenas que todas as extremidades do corpo se convertam em coraes alucinados. A voltagem fulleriana, alta, altssima, e o seu flego rpido, tomado e retomado a cada instante, entretanto, no querem saber se o pacto foi ou no aceito: os movimentos de grua, a destruio, a nudez lmpida e a clareza dos sentimentos dos homens (e da mulher: Angie Dickinson, que no faz aqui sequer um nico movimento errado) esto em linha reta, imperturbveis, num mergulho constante, profundo e mortal de onde no h retorno. O perigo e a felicidade esto sempre mais adiante.
It's packed with Fuller trademarks, stock footage, Big Red One war stories, anti-racism, anti-communism and good parts for minority actors. It tells a number of good character driven stories and some good action vignettes along an episodic trek through the jungle with explosives that had something of 'Wages of Fear' about it in the disposability of it's characters (although it's not a patch on that movie) and it has Nat King Cole as an action hero.
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