The Puppetmaster (1993)

The Puppetmaster is a gorgeous epic tale. It is an extraordinary tale, that is unbelievably autobiographical. Li Tian-lu, master puppeteer, narrates his own life story as an artist living under the Japanese occupation of Taiwan. Periodically, we cut to talking head interviews with the aging Li that give his story an air of authenticity like a documentary. The scenes typically start in the moment and we watch history unfold. Meanwhile, a narrator tells the audience what is occurring (it is difficult to tell who is speaking, whether it is someone inside the frame, someone outside the frame, or more often the narrator) while we see a slight variation on screen. The movie provokes questions about history versus memory.

The cinematography is absolutely gorgeous. Interior doors and walls create a framing device within the frame of the camera such that we only see a fraction of the action. The characters move in and out of the frame as if life exceeds the boundaries of the film, and we are just observing it. We are reminded of this in the mesmerizing puppet scenes, in which the focus is not simply what we see on stage but also the characters acting and viewing the show. When we do see people on screen, they are always occupied with something, as if they were standing on stage exposed to the audience doing choreography. The movie is characterized by long master takes (vignettes) beginning with a fade-in and ending with a fade-out filmed by a single still camera. When the camera does move in rare circumstances, it is striking.The wide shots of the Taiwanese countryside are beautiful with small silhouettes of working people accentuating the scenery.

The music is also notable, including both traditional Chinese instruments and western style epic soundtracks. And Li has a sense of humor that is actually quite funny though sometimes the movie is a little slow. It is a heartwarming story about an artist who mastered his craft told in a greater historical context.