Over at the Encyclopedia of Science Fiction, I sneak away from my usual entries on China and Japan to write up a couple of Russian movies: Hardcore Henry and Calculator (pictured). Yes, that’s Vinnie Jones in the background; he gets around.
One of the pleasures of long-haul flights is getting to mainline a bunch of movies that you wouldn’t otherwise stand a whelk’s chance of watching. Which is how, somewhere two miles above Novosibirsk, I found myself watching The Treasure of Lake Kaban, a completely bonkers movie set in Tatarstan.
The poster says it all, from the Lara Croft rip-off and the aspirant Bond, all the way to the irritating little dog. Ivan the Terrible scowls at the left – it is he, in flashback, who attacks Tatarstan’s capital, Kazan, causing the beautiful princess Soyembika to bury her greatest treasure in a secret location. Meanwhile, over on the right is an “American” carpet-bagger called, wait for it, Diana Jones.
The tagline shrugs: “Nyet vremeni obyasnyat” (There’s no time to explain). And apparently there isn’t, as a frustrated army doctor-turned-archaeologist, a nutjob who thinks he’s an alien, and a Russian navy conscript trying to find enough cash to buy out his commission, all converge on the small republic, where local colour amounts to a whole bunch of relics of Russian’s Mongol marchland – dances, cossacks, daggers, and most memorably in the gene pool, if the smouldering Elvira Ibragimova (that’s her in the shorts) is anything to go by.
The script, by Georgiy Kirvalidze and Dimitriy Terekhov, is based on ideas by three others – although there is such antic chaos in the movie that one might be forgiven that three completely different films were being made at once. There are allusions to many tourist sites in Kazan, and local legends such as the Zilat, the region’s own variant of the Loch Ness monster.
Played straight, there would have been plenty of majesty and scenery here to out-Dan Brown Dan Brown. But The Treasure of Lake Kaban plumps for madcap “comedy”, all pratfalls and kicks in the goolies, as wannabe rock star Kiril (Alex Sparrow, who is apparently something big in Russian X Factor) gurns and mugs his way around a series of monuments and sewers, trying and largely failing not to stare down the cavernous cleavages of his co-stars and nemesis. The result plays as if the Chuckle Brothers have been put in charge of the Da Vinci Code, with all that that implies.
Jonathan Clements is the author of An Armchair Traveller’s History of the Silk Road, which doesn’t have any monsters in it, but does have more belly dancing.
When I was working on my book about Empress Wu, I found myself clambering around the dark, musty interior of a grave close to her tomb. On the wall, a mural depicted ambassadors from afar, come to praise the glory of the Tang dynasty. One of them, famously, is a hirsute, hook-nosed man from Syria. But standing behind him in the queue is an even odder dignitary – an alien, glowering figure with a satanic beard and an odd, horned head-dress. He was a diplomat from the land that the Chinese called Bohai, which still lends its name to the gulf between modern Korea and the Chinese coast, which between 698 and 926 AD, dominated north-east Asia before falling to barbarians… or as the Chinese would have it, other barbarians.
Parhae (or Balhae, or Bohai) was described by Chinese chroniclers as the “Rising Land of the East”, now a forgotten, ruined state in one of the least studied corners of Asia, which once had several “capitals”, fought a war against Tang China, and extant fragments of whose architecture and grave goods indicate was a powerful, civilised culture. And yet, by the middle of the tenth century, it all fell apart. The last king of Parhae walked weeping from his city gates, leading a flock of sheep in a symbolic gesture of surrender. I have long been fascinated by the story, and forced to rely on Japanese sources, so I am immensely pleased that Global Oriental have broken such new ground with this wonderful book.
A “New” History of Parhae is something of a misnomer – the subject has rarely been even mentioned in English before. Parhae is a political minefield. It covers much of that liminal area better known to regular readers of this blog as Manchuria, which means that at various points in the last hundred years, the Koreans, Japanese and Russians have all tried to lay claim to it. For the Russians, Parhae was the first mainland East Asian state to establish itself independent of China, and hence, by an oddly Soviet process of logic, the defining line of the border between China and Siberia. For the Chinese, Parhae was a vassal state, and hence “proof” of Chinese authority extending far to the north. For the Japanese it was neither Chinese nor Russian, and hence an ideal historical idea to push in order to establish that the area was up for grabs during Japan’s colonial push into Manchuria.
For the Koreans, Parhae could be a “Greater” Korea – a notional, largely theoretical expansion of ethnic identity to the north-west of current borders. It establishes “Korean-ness” as an element to be found far beyond the current peninsula, and hence pushes Korean ethnicity as a far larger contributor to East Asia. As “the lost land” of modern mythology, it even became the subject of a K-pop song, “Dreaming of Parhae”. Discovering this is not unlike discovering that Zou Bisou Bisou contains coded messages to the Vietcong. It certainly adds a degree of historical context to The Legend of the Shadowless Sword, a film about the last prince of Parhae, universally reviewed as if it were a “Korean” subject, whereas as seen above, there is far more to it than that.
Yes, it’s all very political, and the weapons are largely academic. A New History of Parhae began life as a publication by the Northeast Asian History Foundation, an academic body deliberately set up by the Koreans to counter the influence of a similar institution cobbled together by the Chinese. Translator John Duncan acknowledges all of the above in introducing a superb collection of fifteen essays that piece together the foundation, flourishing and decline of historical Parhae, using archaeological evidence and extant documents. Parhae never got a dynastic history like other Asian states, so we have to construct details of its existence from asides in the records of the Tang dynasty or Japanese annals. Chapters include tantalising glimpse of later attempts to resurrect the lost kingdom, as well as a study of Parhae’s forgotten maritime power. Closing essays offer literature reviews of work in other languages.
John Duncan’s translation is seamless and invisible, devoid of the pomposities or solecisms so often found when Asian academia is rendered into English. He also negotiates the choppy waters of conflicting romanisations, and produces a fantastic book. So it’s a shame that he has been let down by the illustrations, which are amateurish and often pointless, and presumably repeated from the original. There are seemingly random photographs of non-descript hills, repeated images of vaguely-related forts, and unexplained overhead shots of somewhere presumed relevant. Worst of all, two of the maps are printed in Korean (if I could read Korean, I wouldn’t have had to wait seven years to buy this in translation) and two others in which all the text was duplicated as random ASCII characters (let’s all go to the town of “%&^”%$&$). I don’t know about you, but if I spend £69 on a book, I rather hope that it’s got decent maps. Reading between the lines of the captions, the publishers knew all this before they went to print, but did so anyway with a shrug and crossed fingers.
I do feel for them. On several occasions, books of my own have escaped similar unpleasantness only by dint of sheer luck or editorial brinkmanship. I would have very happily paid for A New History of Parhae if it didn’t have any pictures in it at all, but the ones included seem strangely contemptuous, as if the publishers want to be able to trill on their press releases that it is “illustrated”, but don’t much care what the aforesaid illustrations actually show. There is similar derisory graphical treatment elsewhere in the book, such as where the “Lineage Chart of Parhae Kings” turns out to be just a list of names and dates. So, not a chart at all, then. As the price suggests, this is a book for a community of high-level academics and experienced historians. Do the publishers really expect none of them to notice?
Then again, beggars can’t be choosers. I have been dreaming of Parhae for many years, and this book only makes the dreams more real.
A New History of Parhae is out now from Global Oriental.