Almost all Chinese revolutionary-themed dramas are criticized for being Anti-Japanese divine dramas (kang ri shen ju), and Snow Leopard is no exception. The characterization of the protagonist, Zhou Weiguo, bears the most critical reception. A prominent view is that he, along with many other characters, is deified. This voice must be adequately addressed from two perspectives in order to better comprehend the drama. First, revolutionary-themed dramas should never be taken literally, as their function is not to reflect history accurately. Second, the Chinese audience is more tolerant of revolutionary-themed dramas because of the pain inflicted by Imperial Japan on China's history. The exaggeration and deification of the plots distinguish revolutionary-themed dramas like Snow Leopard and lend them distinctive characteristics. However, the majority of such dramas do not enjoy the success of Snow Leopard. Many of them suffered from goofs, continuity errors, cheap props, lack of authenticity, etc. In this drama, an average audience can be easily entertained by watching the action scenes while touched by the sacrifice of the martyrs of the Revolution. Snow Leopard's narration is not limited to highlighting the heroism of the protagonists; many characters and plots are thought-provoking, which the audience will remember as profoundly as the spectacular action scenes.
Like most protagonists of Chinese revolutionary dramas, Zhou Weiguo possesses exceptional courage and military talent. However, the audience can see his development and maturity through multiple stages and how several events and experiences transform him into an excellent commander of the Eighth Route Army. While some question the veracity of Zhou Weiguo's character, the audience is constantly reminded of his vulnerability. All his junior officers and soldiers but one died in the Battle of Nanking. While retreating, his fiancée was captured by the enemy and committed suicide in front of him. Before joining the Eighth Route Army, he took part in a bandit organization because he initially despised the military discipline of the communist army. After becoming an Eighth Route Army officer, he loses his left arm during combat. Several high-ranked Communist officers are even critical of Zhou Weiguo because of his Nationalist background. At last, the Communist Army and Zhou Weiguo achieved each other's success. While Zhou Weiguo is inevitably the game-changer in Snow Leopard, other characters of the Nationalist Party, bandits, and even the Japanese Puppet Army unite against Imperial Japan. The subtle balance and interaction between individualism and collectivism portray the spirit of the war, which the Chinese audience holds dear.
The primary antagonist of the drama, Takeshit Toshi, is perhaps the most distinctive villain of all revolutionary dramas. Like Zhou Weiguo, Takeshit Toshi is a brilliant military officer and an invaluable asset to the Imperial Japanese Army. While studying in Berlin, his sincerity changed Zhou Weiguo's prejudice against him as a Japanese. Takeshit Toshi insisted on befriending Zhou Weiguo since his patriotism and ambition resembled his own. Soon, Zhou Weiguo learned about Takeshit Toshi's opposition to the War against China because he thought it would endanger Japan's fate. Moreover, he told Zhou Weiguo that he joined the army only to defend his nation, as he also hated those who invaded his country. On battlefields, Takeshit Toshi's army inflicted heavy losses on the Chinese army and once changed the course of the war. However, Takeshit Toshi's characterization does not arouse abhorrence among the audience like other Japanese military officers often do. On the battlefields, Takeshit Toshi refused to kill innocent civilians, treated his subordinates well, and used his personal privilege to protect Zhou Weiguo's captured lover against torture. To some degree, the audience feels sympathetic toward Takeshit Toshi, as he conveyed to Zhou Weiguo out of frustration: There is no willingness in the military, only obedience. In the heartbreaking scene of their final battle, Takeshit Toshi admitted his loss and forbade his subordinates to make feeble resistance. In his final encounter with Zhou Weiguo, Takeshit Toshi challenged Zhou Weiguo to a duel but cut one of his own arms. Struggling to rise, he asked Zhou Weiguo to end his life so both their fate as soldiers would be fulfilled and they could be friends again. Killing Takeshit Toshi, Zhou Weiguo could no longer inhibit his conflicting emotion for Takeshit, lamenting their once friendship and the cruelty of war.
The story of Snow Leopard ends in 1945 when Imperial Japan unconditionally surrendered. While the drama's ending foreshadows the subsequent Chinese Civil War, it is not a part of the story. While the objective reason for the exclusion of the Civil War in Snow Leopard was the leading actor, Wen Zhang's conflicting schedule, it strengthened the drama's emphasis on patriotism and perpetuated the friendship between Nationalist and Communist Army developed during the Anti-Japanese sentiment, at least in the play. While the Nationalist Party is often known to the Chinese audience for its reactionism during the Chinese Civil War, which still has controversial legacies in China-Taiwan affairs, Snow Leopard portrays the Nationalist Army as equally important and heroic in the effort to repel Japanese invaders. In that sense, patriotism exceeds partisanship. The audience can appreciate the fearless Anti-Japanese martyrs, irreplaceable brotherhoods, sublime national solidarity, and the Kuomintang-Communist cooperation that once shed light on the future of post-war China. While the drama still centers around a Communist hero, it reminds the audience of the Nationalist Army's indispensable contribution to the Second Sino-Japanese War.
As in any revolutionary drama, a knowledgeable audience can easily recognize several Community Party slogans in Snow Leopard. However, Snow Leopard rarely conveys these slogans in an abrupt and incoherent manner. Thanks to the sociopolitical context in which the drama was produced, there were fewer expectations of the drama to propagate party ideology to the audience, as one would observe in more recent drams, such as The Knockout (kuang biao). In the end, politics is not the driving force of the Anti-Japanese sentiment, and the drama's producers ensured to emphasize it. While the Communist Party serves as the most indispensable part of the war in Snow Leopard, the audience also remembers other minor and even politically incorrect characters, such as the bandit organization, which is not affiliated with the Communist ideologies but also fights to repel the Japanese. All characters in the drama have distinct characteristics, and the directors wisely used close-up shots to capture their micro-expressions and reflect inner struggles. At last, the drama does evoke patriotism among the audience, but it's attained through the portrayal of the most ordinary revolutionary martyrs rather than an intangible and metaphysical catchphrase that even an average Chinese audience often finds peripheral.
An ordinary revolutionary drama induces a pleasant sensation among the audience because all such dramas end with the Chinese victory and the Japanese surrender. Snow Leopard does not diverge from other revolutionary dramas in that sense. However, the audience's sentiment after watching Snow Leopard is far more complex than euphoric. The realistic and vivid characterization of patriotic heroes, trusty bandits, self-righteous hypocrites, ignoble collaborators, and honorable enemies all have equally profound impressions on the audience. They witness the Nationalists' contribution to the liberation of China, the maturity of a talented Communist officer, and an Imperial Japanese commander who challenged their traditional notion of antagonists. One is relieved after watching the defeat of Imperial Japan but can hardly feel any joy after seeing the sacrifice of millions of innocent and righteous people. Plots such as the Battle of Nanking are adapted from historical events, and the eradication of the enemies cannot remedy the pain Imperial Japan inflicted on China. Snow Leopard may be an Anti-Japanese divine drama, but it does not deviate significantly from reality, and the sacrifice, agony, and desperation that are conveyed in the drama are still appealing to the Chinese people today.
Zhou Weiguo's father admonishes him before the Battle of Nanking: personal gains and honor are inappreciable compared to national interests. In Berlin, Zhou Weiguo forged a profound friendship with Takeshit Toshi, but he left these sentiments behind and regarded Takeshit Toshi as his enemy once he entered Chinese soil with weapons. Takeshit Toshi treasures their friendship even during wartimes, but with his father's admonition in mind, Zhou Weiguo is indifferent to Takeshit Toshi on the battlefield and does not hesitate to eliminate his country's enemy. Still, he could not forgo their once friendship. Takeshit Toshi is an equally brilliant military commander whose belief does not differ from that of Zhou Weiguo. It made people plaint and lament that the two commanders who understood each other's ambition would be lifetime friends if there were no war. Born in Imperial Japan, Takeshit Toshi's fate was predetermined once he decided to serve his country. Likewise, Zhou Weiguo is born to be a national hero. The final episode of Snow Leopard heightens the audience's resentment of war, which turns friends into foes. The drama's producers exerted their utmost effort to make an outstanding work that incites a mix of emotions and brings people into contemplation. Snow Leopard is a rare revolutionary drama that challenges the audience's perception regardless of their background, and I cannot recommend it enough.
Like most protagonists of Chinese revolutionary dramas, Zhou Weiguo possesses exceptional courage and military talent. However, the audience can see his development and maturity through multiple stages and how several events and experiences transform him into an excellent commander of the Eighth Route Army. While some question the veracity of Zhou Weiguo's character, the audience is constantly reminded of his vulnerability. All his junior officers and soldiers but one died in the Battle of Nanking. While retreating, his fiancée was captured by the enemy and committed suicide in front of him. Before joining the Eighth Route Army, he took part in a bandit organization because he initially despised the military discipline of the communist army. After becoming an Eighth Route Army officer, he loses his left arm during combat. Several high-ranked Communist officers are even critical of Zhou Weiguo because of his Nationalist background. At last, the Communist Army and Zhou Weiguo achieved each other's success. While Zhou Weiguo is inevitably the game-changer in Snow Leopard, other characters of the Nationalist Party, bandits, and even the Japanese Puppet Army unite against Imperial Japan. The subtle balance and interaction between individualism and collectivism portray the spirit of the war, which the Chinese audience holds dear.
The primary antagonist of the drama, Takeshit Toshi, is perhaps the most distinctive villain of all revolutionary dramas. Like Zhou Weiguo, Takeshit Toshi is a brilliant military officer and an invaluable asset to the Imperial Japanese Army. While studying in Berlin, his sincerity changed Zhou Weiguo's prejudice against him as a Japanese. Takeshit Toshi insisted on befriending Zhou Weiguo since his patriotism and ambition resembled his own. Soon, Zhou Weiguo learned about Takeshit Toshi's opposition to the War against China because he thought it would endanger Japan's fate. Moreover, he told Zhou Weiguo that he joined the army only to defend his nation, as he also hated those who invaded his country. On battlefields, Takeshit Toshi's army inflicted heavy losses on the Chinese army and once changed the course of the war. However, Takeshit Toshi's characterization does not arouse abhorrence among the audience like other Japanese military officers often do. On the battlefields, Takeshit Toshi refused to kill innocent civilians, treated his subordinates well, and used his personal privilege to protect Zhou Weiguo's captured lover against torture. To some degree, the audience feels sympathetic toward Takeshit Toshi, as he conveyed to Zhou Weiguo out of frustration: There is no willingness in the military, only obedience. In the heartbreaking scene of their final battle, Takeshit Toshi admitted his loss and forbade his subordinates to make feeble resistance. In his final encounter with Zhou Weiguo, Takeshit Toshi challenged Zhou Weiguo to a duel but cut one of his own arms. Struggling to rise, he asked Zhou Weiguo to end his life so both their fate as soldiers would be fulfilled and they could be friends again. Killing Takeshit Toshi, Zhou Weiguo could no longer inhibit his conflicting emotion for Takeshit, lamenting their once friendship and the cruelty of war.
The story of Snow Leopard ends in 1945 when Imperial Japan unconditionally surrendered. While the drama's ending foreshadows the subsequent Chinese Civil War, it is not a part of the story. While the objective reason for the exclusion of the Civil War in Snow Leopard was the leading actor, Wen Zhang's conflicting schedule, it strengthened the drama's emphasis on patriotism and perpetuated the friendship between Nationalist and Communist Army developed during the Anti-Japanese sentiment, at least in the play. While the Nationalist Party is often known to the Chinese audience for its reactionism during the Chinese Civil War, which still has controversial legacies in China-Taiwan affairs, Snow Leopard portrays the Nationalist Army as equally important and heroic in the effort to repel Japanese invaders. In that sense, patriotism exceeds partisanship. The audience can appreciate the fearless Anti-Japanese martyrs, irreplaceable brotherhoods, sublime national solidarity, and the Kuomintang-Communist cooperation that once shed light on the future of post-war China. While the drama still centers around a Communist hero, it reminds the audience of the Nationalist Army's indispensable contribution to the Second Sino-Japanese War.
As in any revolutionary drama, a knowledgeable audience can easily recognize several Community Party slogans in Snow Leopard. However, Snow Leopard rarely conveys these slogans in an abrupt and incoherent manner. Thanks to the sociopolitical context in which the drama was produced, there were fewer expectations of the drama to propagate party ideology to the audience, as one would observe in more recent drams, such as The Knockout (kuang biao). In the end, politics is not the driving force of the Anti-Japanese sentiment, and the drama's producers ensured to emphasize it. While the Communist Party serves as the most indispensable part of the war in Snow Leopard, the audience also remembers other minor and even politically incorrect characters, such as the bandit organization, which is not affiliated with the Communist ideologies but also fights to repel the Japanese. All characters in the drama have distinct characteristics, and the directors wisely used close-up shots to capture their micro-expressions and reflect inner struggles. At last, the drama does evoke patriotism among the audience, but it's attained through the portrayal of the most ordinary revolutionary martyrs rather than an intangible and metaphysical catchphrase that even an average Chinese audience often finds peripheral.
An ordinary revolutionary drama induces a pleasant sensation among the audience because all such dramas end with the Chinese victory and the Japanese surrender. Snow Leopard does not diverge from other revolutionary dramas in that sense. However, the audience's sentiment after watching Snow Leopard is far more complex than euphoric. The realistic and vivid characterization of patriotic heroes, trusty bandits, self-righteous hypocrites, ignoble collaborators, and honorable enemies all have equally profound impressions on the audience. They witness the Nationalists' contribution to the liberation of China, the maturity of a talented Communist officer, and an Imperial Japanese commander who challenged their traditional notion of antagonists. One is relieved after watching the defeat of Imperial Japan but can hardly feel any joy after seeing the sacrifice of millions of innocent and righteous people. Plots such as the Battle of Nanking are adapted from historical events, and the eradication of the enemies cannot remedy the pain Imperial Japan inflicted on China. Snow Leopard may be an Anti-Japanese divine drama, but it does not deviate significantly from reality, and the sacrifice, agony, and desperation that are conveyed in the drama are still appealing to the Chinese people today.
Zhou Weiguo's father admonishes him before the Battle of Nanking: personal gains and honor are inappreciable compared to national interests. In Berlin, Zhou Weiguo forged a profound friendship with Takeshit Toshi, but he left these sentiments behind and regarded Takeshit Toshi as his enemy once he entered Chinese soil with weapons. Takeshit Toshi treasures their friendship even during wartimes, but with his father's admonition in mind, Zhou Weiguo is indifferent to Takeshit Toshi on the battlefield and does not hesitate to eliminate his country's enemy. Still, he could not forgo their once friendship. Takeshit Toshi is an equally brilliant military commander whose belief does not differ from that of Zhou Weiguo. It made people plaint and lament that the two commanders who understood each other's ambition would be lifetime friends if there were no war. Born in Imperial Japan, Takeshit Toshi's fate was predetermined once he decided to serve his country. Likewise, Zhou Weiguo is born to be a national hero. The final episode of Snow Leopard heightens the audience's resentment of war, which turns friends into foes. The drama's producers exerted their utmost effort to make an outstanding work that incites a mix of emotions and brings people into contemplation. Snow Leopard is a rare revolutionary drama that challenges the audience's perception regardless of their background, and I cannot recommend it enough.
