Tag Archives: Rocco and His Brothers

Thinking Aloud About Film: Hou Hsiao-hsieng 5 – The Boys From Fengkuei aka All The Youthful Days (1983)

Hou has described this as the favourite amongst his films. Richard and José discuss why this might be so: the compositions; the long takes that allow for action vertically, horizontally, and on different planes of the image. The juxtaposition between the rowdy teenage delinquency we see with the classical musical. The easy ellipsis into memory. The evident influence of Italian neo-realism, particularly Visconti’s Rocco and His Brothers, which is explicitly referenced and Fellini’s I Vitelloni, which has a similar set-up. We discuss the falling into place of a particular style that would come to be associated with the director and why we think the film ends up being so beautiful and moving.

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

I’ve enclosed seven clips which I hope illustrate his style. The camera placed inside to allow for framings within framings, to bring the outside in, the lingering between foreground and background.


The scene where they go see a porno and end up watching Rocco and His Brothers:

The incredible composition of this long take  that begins with the camera backtracking, then panning on the man and the boy, then following them u,. The action takes place mid-frame, the fight goes off space only to return. Hou is not afraid to let the frame wait as policemen go in one direction, motorists on the other, and the gang of boys runs towards the camera. It’s brilliant. And typical of this film.

The iconic scene with the boys teasing the girl, the beginning full frame, the re-framing from the inside, the young girl’s acid commentary on it, and then the elegiac long-shot that follows.

The beautiful shot of the first visit to the house, notice the action, the re-framings through windows and corridors. The way it rhymes with all of the scenes in the house.

Note again, the reframing through balconies and windows, the use of corridors, the way these techniques rhyme and when.

Verité CinemaScope below:

José made a trailer for the podcast:


…and Richard has provided the following links:

this is the interview where Hou talks about the use of “Rocco and his Brothers” https://lwlies.com/interviews/hou-hsiao-hsien-the-assassin/

A good article which puts it in the context of the first three films – https://seattlescreenscene.com/2015/03/20/the-boys-from-fengkuei-hou-hsiao-hsien-1983/

and another good review: https://www.sensesofcinema.com/2003/cteq/boys_from_fengkuei/

Transcript of the BFI interview with Tony Rayns, he talks about the genesis of the film https://www.thelondontree.com/interviews/hou-hsiao-hsien-a-rare-conversation-at-the-bfi-london/

An interesting article on the early films that were on Mubi. http://www.davidbordwell.net/blog/2016/06/06/hou-hsiao-hsien-film-culture-finally-comes-through/

Jose’s suggestions for further reading:

David Scott Diffrient’s, ‘The Sandwich Man: History, episodicity and serial conditioning in a Taiwanese omnibus film’, Asian Cinema, vol 25, no., pp. 71-92,

Cheshire, Godgrey, ‘Time span: The cinema of Hou Hsio-hsien’, Film Comment; Nov 1993;29, 6, pg. 56.

Stanbrook, Alan, The Worlds of Hou Hsiao-hsien’, Sight and Sound, Spring 1990; 59, 2, Rayns, Tony, ‘Auteur in the Making’, Sight and Sound; July 2016;26, 9; p. 98

Sklar, Robert, ‘Hidden History, Modern Hedeonism; The films of Hou Hsia-hsien’,  Cineaste, Fall 2002; 27, 4, pg. 11.

Wen, Tien-Hsiang (trans by GAN Sheuo Hui), ‘Hou Hsiao-Hsien: a standard for evaluating Taiwan’s cinema), Inter-Asia Cultural Studies, vol 9, number 2, 2008.


Also the original Variety review may be found here: review


José Arroyo


Nicky Smith and José Arroyo in Bologna

A crude home movie; made by someone who doesn’t really know how to make them — me; but which nonetheless evokes how wonderful it was to see classic films at the Piazza Maggiore in Bologna during the Giornate del Cinema Ritrovato.

José Arroyo

Watching Rocco And His Brothers in the Piazza Maggiore at the Cinema Ritrovato in Bologna.

There were all kinds of magical experiences watching films in the Piazza Maggiore in Bologna during the Giornate del Cinema Ritrovato but the one of seeing Rocco e i suoi  fratelli/ Rocco and His Brothers in this particular context – the Piazza Maggiore, with thousands of spectators, a huge screen, a special stand purpose-built for the projector so it can be sufficiently high to have enough ‘throw’ to fill that particularly huge screen – to be able to in this context ‘experience’ this particular story, the story of Italy, the story of leaving home, leaving mi paise, which stands not just for one’s village but for one’s land, one’s country as both an imaginary but also in a phenomenological sense, in which the film itself posited a kind of saudade, that kind of felt love for a people and place one longs for still but which is far away and maybe never was but that is imagined so vividly, and which one’s love for that imaginary is still felt so strongly that it is rendered alive, and the sadness for its loss so vividly juxtaposed with the fullness of the feeling for what once was; a country you feel, experience, touch, sense, and which you carry the memory of like a half-sensed reverie, missing and longing, yearning and loss, all mixed up with a desire for an entwined affect. This story of mid-century Italy is now also the story of so many in a 21st century world; and the problems of the film resonate not only with their specificity but with their universality. It was truly great; and not only the work in itself but also the experience of watching it in this particular context. Doubly great.

José Arroyo