Film Review: Blood on Wolf Mountain (1936)

Blood on Wolf Mountain (Fei Mu, 1936) – **** – Blood on Wolf Mountain is an impressive film of its time, showcasing both artistic and political prowess through its adept use of cinematographic expression, often staging events in a great depth of field. This approach creates a tapestry of contradiction, juxtaposing the beauty of nature with its inherent ferocity. The film delves into the complex relationship between nature and a small village, portraying how nature provides abundance while simultaneously challenging the very existence of the community.

However, the film’s thematic depth extends beyond existential crises, largely owing to Fei Mu’s uniquely lyrical depiction of the gun. Fei Mu explores societal control amidst the backdrop of an existential struggle with nature, personified by the menacing wolves. He skillfully plays with the concept of how human agency becomes fragile when confronted by forces beyond the human realm.

Blood on Wolf Mountain narrates the tale of a small village besieged by wolves, whose attacks have resulted in past casualties and continue to instill fear. Despite being an intergenerational issue, the villagers are compelled to find a solution. In a cinematic flourish, Fei Mu’s answer lies in the power of the gun, depicted in an almost musical fashion. It is not merely any gun, but the people’s gun – an affordable, low-cost weapon accessible to ordinary villagers

Blood on Wolf Mountain emerges as a film that not only captivates with its artistic and political dimensions but also challenges contemporary perspectives on environmental ethics and societal roles. While the portrayal of wolf killings may clash with ecocinematic sensibilities, the film’s deeper narrative unfolds as a symbolic resistance against a different kind of adversary – the imperialist threat embodied by Japan. In the 1930s, Japan seized the majority of China’s northern territory. The metaphorical link between the wolves attacking the village and Japan’s historical encroachment on China adds layers of meaning to the film, transforming the gun from a mere narrative device into a potent political symbol.

Fei Mu’s nuanced exploration goes beyond the physical battleground, extending into the realm of gender roles. The suggestion that women should take up arms, exemplified by the character of Xiao Yu, introduces a progressive dimension to the narrative, challenging traditional norms prevalent in the 1930s. This forward-thinking portrayal renders the film futural, highlighting its timeless relevance and its ability to resonate with contemporary discussions on gender equality.

In essence, Blood on Wolf Mountain transcends its cinematic boundaries, transforming itself into a canvas depicting the complexities of human-nature relationships, political resistance, and societal evolution. Fei Mu’s masterful storytelling and insightful commentary contribute to the film’s enduring value, inviting audiences to reflect on the intricate interplay between nature, society, and the human spirit.

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