FILM REVIEW : Ancient Chinese History Takes On Grand Scale at Fleet Space Theater

Five minutes into “The First Emperor of China” a scene depicts a woman being ripped apart by horses, serving notice that this is not the type of IMAX film typically screened at the Reuben H. Fleet Space Theater.

The Space Theater normally screens science- and nature-oriented films. “The First Emperor of China,” produced by the National Film Board of Canada, China’s Xi’an Film Studio and the new Canadian Museum of Civilization, is a historical epic, telling the often brutal tale of Qin Shihuang, who dubbed himself the first emperor of China in 221 B.C.

Beginning today, the 40-minute film will screen several times a day at the Space Theater in Balboa Park, along with the short “Stars Over China,” which details China’s role in astronomy through the centuries. It opens an extended run at the Tijuana Cultural Center, Saturday, with a Spanish sound track.

In Qin Shihuang, the producers found a subject big enough to fill the huge-screen IMAX format.

Qin brutally conquered the six regions of China, unifying the country. Once in charge, he brought an unprecedented reign of peace to the country. The film doesn’t gloss over the harshness of the era--Qin burned books and buried the authors alive. But he also set the tone for the China of the future, starting construction of the Great Wall of China and standardizing language, among other accomplishments.

Shot entirely in China, “First Emperor of China” is a “docudrama,” in the sense that it uses dramatic license to re-create historical events. But dozens of cheesy television “docudramas” have given the term a negative connotation that this film doesn’t deserve.

“First Emperor” is a gripping tale, which happens to be true.

From time to time the film takes out the historical sledgehammer, not so subtly emphasizing the minute historical accuracy of the production. Camera shots beckon the viewer: Look at the weird shoes! See them dance! That’s how they really danced!

But the film doesn’t get bogged down in detail. The film succeeds in broad brush strokes, painting a portrait of the times. The care taken to reproduce clothing, eating utensils and daily rituals fill the screen with fascinating tidbits for the eye, as well as educational material.

The beauty of the IMAX format is its size. Each shot allows the eye to wander across the screen, finding various details to explore. Such detail, the ability to make every shot a diverse and interesting experience, has always characterized the format’s science-oriented films.

“The First Emperor of China” fills the screen with thousands of people, reminding at least one viewer of the lavish Elizabeth Taylor-Richard Burton production of “Cleopatra,” sans the Hollywood glitz and gaudiness. Qin clearly was a leader who believed in doing things in a big way. After all, this is a man who had 7,000 life-size clay statues buried in his tomb (they were discovered accidentally in 1974 by well diggers).

Simple shots of Qin’s armies marching through the hills are gripping in the large-screen format, perhaps the only

venue able to convey the magnitude of Qin’s empire. Battle scenes are surreal. The celebration of Qin’s declaration of peace, with dozens of drummers pounding out a rhythm on huge drummers, accompanied by thousands of extra with metal cymbals, is a lavish spectacle, the size and scope of which forces viewers back into their seats.

Beyond the spectacle, the film clearly is intended as an educational tool for children. But it succeeds with adults, simply because so few are familiar with the tale.

Qin’s story is reportedly taught to all Chinese youngsters, and there is a lingering sense that “The First Emperor” is an interpretation of history, as much as historical record. “First Emperor of China” is the first IMAX film produced with the cooperation of the Chinese government. The film was scheduled to debut in Canada last June but was delayed because of the political turmoil in China.

Some aspects of the film might bother the rigid Communist government of China. Although portrayed as brutal and savage (a not-so-subtle anti-war message permeates the film), Qin is basically portrayed as a positive, unifying force. In a country that decries “cults of personality,” this might be viewed as dangerous message.

But the Chinese probably won’t get to see it. According to Space Theater director Jeffrey Kirsch, there are no IMAX theaters in China.