Last Train Home 归途列车 [2009] • China, Canada

I recommend this "documentary" to everyone. There are glowing and heartfelt reviews of it aplenty, and I don't object to any of the ones I've read. The film made me cry and it stayed with me for a long time, but there is one thing that bothered me about it: its complete lack of any joy whatsoever. 

Last Train Home is nominally about the largest human migration on earth, that of 130,000,000 Chinese migrant workers who travel from the cities they work in back to the villages they came from for the Lunar New Year Holidays—a huge cultural event in China. One hundred and thirty million people, and no joy? I'm not suggesting the film makers had an obligation to assemble a tourist brochure and show shiny happy people everywhere. Many films use cultural events as backdrop to a story without commenting directly on the event itself, but I felt Last Train Home did comment by omission, and I was frustrated by it.

Documentary film makers always make choices about how best to tell a story, and they almost always hedge their bets a little on the fine line between creating and simply observing a story. Not to mention the Observer Effect. On the other hand, Last Train Home isn't about the New Year Celebration much at all. It's about generation gap and changing times in China exemplified by the enormity of hell people go through during the New Year, and it's frighteningly good at telling that story.

Speaking of frightening, there is a moment in the film where the whole thing breaks down, something which would ordinarily be left on the cutting room floor or assigned to the "Making of ..." section of a DVD, but the director left it in, and it will give you a jolt. I promise.

★★★★

Director: Lixin Fan
Starring: Suqin Chen, Changhua Zhan, Qin Zhang, Yang Zhang, Lixin Fan

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Buddha Mountain 观音山 (Guan Yin Shan) [2010] • China

By-the-numbers indie. I didn't believe any of the actors made contact with the feelings the characters were supposed to be feeling because everything comes off as an impression, rather than anything of substance. Li Yu, who directed 2007's wonderful Lost in Beijing, doesn't seem to have a story to tell here, as much as simply having a desire to make a film in this style, and feature disillusionment as a theme. The hand-held camera-work didn't bother me, but the framing and composition of shots did. They seemed forced and almost precious, and the actors merely vogued their way through scenes.

Fan Bingbing, who was so good in Lost in Beijing, her first film with director Li, seems to treat this one like it's automatic art-house street cred. The story is uninspired: Three young drifters meet a single mom who is still mourning the death of her only son, and they all have an angst competition. That should be indie grill; it's not in this case. It's just shots of people pensively staring off into space, and scenes of people pensively walking around aimlessly while the fog rolls by and the music meanders. Indie film school 101. It was very hard to finish this film because I didn't care about any of the characters. Caring about characters may not be necessary, although the director clearly hoped for it, so I'm going to make up a word to describe my experience, to differentiate it from not caring. I discared  the characters.

★★

Director: Yu Li
Starring: Sylvia Chang, Bo-lin Chen, Bingbing Fan, Helong Wang

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Red Cliff 赤壁 (Chi bi) [2008+2009] • China

A five hour holiday marathon. Period pieces, costume dramas, and films about fighting (physically or with weapons other than the heart) are a few of my least favorite film genres so I don't know how it happened but I loved every minute of this monster. If I had watched the condensed version I wouldn't have liked it. There are two 30 minute fight scenes, and since the cut version is aimed at Western audiences I doubt they would have suffered any loss, which would have then made them be half the movie and I would have been bored silly.

I love the Art of War, men of honor, tea ceremony languid pace of it which allows for fleshing out the characters and slowly developing the gravity of the situation. Sure, it's a little over-the-top at times—it's John Woo—but it's really easy to get into the film's depiction of historically important events and forgive a few personal excesses. The film is remarkably understated for the most part. All the performances are good. All the actors bring you into their world and make you care for them and their concerns. I even rooted for these guys when they went ONE against ONE THOUSAND ... something so silly I've never understood the prevalence nor appeal of it in film.

This film ignited an interest in Chinese historical epics I never thought I would develop. It prompted me to watch The Emperor and the Assassin, and that one is awesome. I've got a couple more in my queue. I think the key is picking the ones that are made for a Chinese rather than a Western audience. The long version of Red Cliff seems to be one of those films. It's slower and more poetic, which is what I like. If it's what you like and you've been keeping this one at bay for fear it's just another big, dumb Chinese historical videogame, give it a shot—and be sure to give it the long shot.

★★★★★

Director: John Woo
Starring: Tony Leung Chiu Wai, Takeshi Kaneshiro, Chen Chang, Wei Zhao, Fengyi Zhang, Shido Nakamura, Jun Hu, Yong You

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Hot Summer Days 全城熱戀 (Chuen sing yit luen - yit lat lat) [2010] • Hong Kong, China

I laughed, I cried. This is a very fun, good looking, popcorn/date flick. Beneath its light-hearted surface there are some teary eyed love happenings. If you like star-studded Hong Kong romantic comedies and sugar-coated sentimentality, look no further.

Hot Summer Days tries to be cross-cultural by setting two of its four main story lines on the mainland but it's more in the tradition of Hong Kong rom-coms than mainland fare. Most of the actors are native Cantonese speakers. I watched this twice, once with the Mandarin audio and once with the Cantonese audio. There is some dubbing in both versions but the Cantonese version has less of it.

The eye candy comes in both flavors: boy and girl. They perspire a lot which leads to some clingy clothing, glistening skin, and probably the PG (or its Chinese equivalent) rating. Vivian Hsu has never been more freakishly cute and Barbie Hsu has never been more tattooed. The most heartwarming and intricate tale is that between Jacky Cheung, as an out of work truck driver cum ice cream salesman, and Rene Liu, as a concert pianist doing foot massage (because it's a job requiring skilled hands), which gets its start from a text message sent to the wrong number. The one that anchors the film and produces the most tears is the one, not given top billing on the poster, between newcomer Xinbo Fu, as an innocent country boy and Angela Baby (that's right, her name is Angela Baby), as a factory worker assembling teddy bears. Daniel Wu, as Master Soy Sauce, and Vivian Hsu, as Wasabi, have the cutest nicknames. Nicholas Tse and Barbie Hsu's story is the most hip and tragic.

There are cameos galore, the highlight being a weepy-eyed monologue from Maggie Cheung spilling her guts to Master Soy Sauce. Blah blah blah. If this is your cup of tea, drink it. It's good (except for some well intentioned CGI maybe). I hope I got all the links right.

★★★★

Director: Tony Chan, Wing Shya
Starring: Nicholas Tse, Jacky Cheung, Rene Liu, Vivian Hsu, Barbie Hsu, Angela Baby, Daniel Wu

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Under the Hawthorn Tree 山楂树之恋 (Shan zha shu zhi lian) The Love of the Hawthorn Tree [2010] • China

Zhang Yimou reportedly auditioned 10,000 girls in search of untarnished, innocent (old school Chinese) beauty when looking to cast the lead in this film.

"These young folks are looking worse and worse with each generation. Pretty girls obviously aren't marrying handsome guys these days. They're hooking up with this sugar daddy and that old lonely bachelor with money. No wonder the kids are lacking in the looks department.

When you look at any picture of young Chinese women from the 60s and 70s period, you'll almost always have an eager face that radiates innocent beauty looking back at you. This is now a thing of the past, young folks rarely have that innocence about them any more."

I read that before seeing this film and it put an awful lot of pressure on the young actress who passed the audition. She's cute, but she's no Gong Li. She's hardly a Zhang Ziyi either, but that may have more to do with the way the film is assembled than anything else.

I'm a BIG fan of Zhang Yimou's common people films. I love his nostalgic looks at the past and his thinly veiled commentaries on the Cultural Revolution and cultural change in general, in China. But Zhang seems to have tossed this one off before finishing a proper script. Title cards are used to fill in narrative gaps (red flag) and to allow for fade-to-black wistful shots of the girl biting her lower lip, pouting, and looking like the innocent beauty Zhang craves. I think the need for fade-to-black wistful shots of the girl biting her lower lip and pouting suggests he didn't find it.

The film is adapted from a popular mainland novel which was based on a true story set during the Cultural Revolution. There's lots of good stuff and great attention to detail concerning the period, and it satisfied my desire for that. There's a pretty standard love story plopped on top of it all, complete with a terminal disease tuggin at your heart strings. But not just any old love story, it's a Japanese styled "pure love" love story. That part is fine as well. A little Korean style melodrama mixed with Japanese pure love stylings works for me most of the time. So why didn't I love this movie?

Honestly, the title cards bothered me. Not just because the girl bit her lip and pouted going into many of them (which got on my nerves as well), but because they gave the film an unfinished quality. It's difficult to remain completely faithful to a novel when adapting it for the big screen, and just as voiceover narration can be used successfully to fill in narrative gaps or it can stick out like a sore thumb, so go the title cards.

"Sun told Jing that he would be waiting for her upon her return"

Sticks out like a sore thumb.

To be fair, dancer and senior high school girl, Zhou Dongyu, from Shijiazhuang in Hebei Province, with “eyes that are clear like the mountain springs”, is pretty fetching as the young girl who is sent to re-education camp and falls in love with an upwardly mobile land prospector. The film's theme of with whom and when one falls in love being up to the discretion of Communist Party leaders is far more tragic than the terminal disease. Shawn Dou Xiao is outrageously handsome and appealing as the young man who falls in love with her.
 
Under the Hawthorn Tree is delicately shot and filled with wonderful period detail. My final waffling verdict is: It's a beautiful and tragic love story with some distracting blemishes. If Zhang Yimou had spent as much time fleshing out a proper screenplay as he did finding a girl to play the lead character he might have produced another masterpiece. I recommend the film to those who like pure love stories.

★★★

Director: Yimou Zhang
Starring: Dongyu Zhou, Shawn Dou, Taisheng Chen, Rina Sa, Xuejian Li

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Shanghai [2010] • USA

Solid cast, good production, engaging spy thriller with some illuminating historical context thrown in.

★★★★

Director: Mikael Håfström
Starring: John Cusack, Li Gong, Yun-Fat Chow, David Morse, Ken Watanabe, Rinko Kikuchi

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She, a Chinese [2009] • UK, France, Germany, China

Frustrated with life in a rural village, she's slapped by her mom, groped by her boyfriend, raped by a truck driver, moves to Shenzhen. Fired from a factory job on her first day, she volunteers to work at a Love Salon. Her lover gets killed (good thing he had a pile of money underneath his mattress). She moves to London and gets a job but her first paycheck is taken back because she has no bank account. She goes to work in a massage parlor and marries a wrinkly old white guy with a bank account who reads the newspaper too often and his cat dies. She gets pregnant by an Indian whose cultural identity is calling him home rather than pushing him away, so he leaves her. The quantity of bummers in this film is so thick it skips along too rapidly and loses credibility.

Lu Huang as Mei (The 'She' of the title) does a fine job plowing her way through the endless misfortune (she did the same thing in Blind Mountain—a great film), so props to her. The story, however, which has a heart and good intentions, asks so much of its characters it stretches the limits of credulity creating distance instead of empathy. It begins to suggest that the circumstances "She" gets into are a result of personal selfishness, or stupidity, rather than exposing or exploring the difficult climb from rural Chinese village to downtown London.

I recommend this film because many of the realities and situations it points at are worth considering. I just wish it would have pointed at a few less and explored them more deeply, or with a whisper of hope. I've got nothing against bleak films, but She, A Chinese gives the impression that once the desire to break free of tradition and hopeless circumstances begins, a stream of unrelenting nausea is likely to follow. Which in turn begs the question of whether the scenarios depicted in the film are the result of the personal characteristics of this particular She, in a sense becoming a character study, or if they are some sort of warning siren or social commentary on what a bitch life is if you begin from a certain place, look a certain way, and have unrealistic expectations concerning what can be done about it.

Broken into discreet elements—the film is broken into discreet parts with the use of title cards that offer sometimes whimsical commentary on various events—the execution is pretty good, but the overall impact is diluted. The performances are solid and the director does a good job making things appear realistic so it might just be a case of truth being harder to get on board with than fiction.

★★★

Director: Xiaolu Guo
Starring: Huang Lu, Wei Yi Bo, Geoffrey Hutchings, Chris Ryman, Hsinyi Liu

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The Emperor and the Assassin 荆轲刺秦王 (Jing ke ci qin wang) [1998] • China

EPIC. Long, slow, a little melodramatically meandering but never boring. This is a great film to watch before Hero to get a more standard historical telling of the story of China's first Emperor. It's not stuffy and stilted the way many more formal Chinese historical films can be. Most of the characters are a little wacky. I put off watching this for a long time because I'm not a fan of what I thought it was going to be: wuxia with little plot and a lot of fighting. It's not that at all. It's got palace intrigue, battle plans, and real history behind it.

There is a well-written and very informative review of the film over at Illuminated Lantern. It discusses many of the scenes and compares them to historical document. It can be read without spoiling the film because this isn't a film built on surprises. We know the story for the most part but it helps, especially western viewers who aren't familiar with the source material, to have some grasp of the impact of what is portrayed in the film in terms of shaping Chinese history.

Gong Li is fabulous, but not really the star of the film. Xuejian Li, as the Emperor, balances unhinged with forthright and hits every note in between. Fengyi Zhang goes from badass assassin to homeless bum who's given up assassinating to badass assassin again and then to someone we're not sure of, all convincing. Zhiwen Wang almost steals the show as the eunuch lover of the queen who has a plan of his own. He seems almost a little too contemporary but Kaige has assembled a film that allows for him. This is more than a standard period piece costume drama. It's history done well and it's very entertaining. Most appealing to me is my perception that this film was made for a Chinese audience, not a western, festival-circuit one.

A recent Red Cliff marathon got me in the mood for EPIC so I indulged and was quite happy—not to mention it features Zhou Xun, unquestionably my favorite Chinese actress, in a small but significant role. It's hard not to see this as a parallel to state sanctioned historiography of Mao, but no matter. Chinese unity is paramount, there will be blood.

★★★★★

Director: Kaige Chen
Starring: Xuejian Li, Fengyi Zhang, Gong Li, Zhou Sun, Zhiwen Wang, Chen Kaige

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Stolen Life 生死劫 (Sheng si jie) [2005] • China

This is one of those films that exposes a segment of Chinese life that will likely make you recoil in despair—ever more when you know the particulars of the film are based on a true story. There's subtle and deep social commentary embracing this extremely sad tale of family, love, and one woman's struggle to survive in modern China. I was very surprised by the script, surprised by the brutality of its story.

Yan'ni (Zhou Xun) is a young woman whose parents, intellectuals from the previous generation, have abandoned her for the most part, shuffling her off to live in near poverty with her uncaring granny and aunt. She secretly gets accepted into university, raising her class status momentarily and giving her hope for a better life, but when she falls in love with a truck driver and gets pregnant, her life unravels.

It might seem like a giant spoiler to reveal that the man Yan'ni falls in love with, Muyu, isn't in love with her. He has a business plan in which Yan'ni has an important role. Muyu seduces young women, impregnates them, and then sells their babies. The film isn't structured in such a way that it leads up to this as a revelation. We are made aware early on of the impending doom Yan'ni will experience and our experience as a viewer is centered on how Yan'ni will deal with it. The film is not an expose as much as a character study.

Zhou Xun is one of the most compelling actresses working today and she delivers right from the start. I don't think a lesser actress could have made this film work as well as it does. It's powerful, frightening stuff.

★★★★

Director: Li Shaohong
Starring: Zhou Xun, Wu Jun, Cai Ming, Su Xiaoming, Zhao Chengshun

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Story of Qiu Ju 秋菊打官司 (Qiu Ju da guan si) Qiu Ju Goes to Court [1992] • China, Hong Kong

If you have any interest in learning about or experiencing a foreign country (assuming China is a foreign country to you), you'll get a lot from this film. Roger Ebert, although not a great resource when it comes to East Asian cinema, wrote "we absorb more information about the lives of ordinary people in everyday China than in any other film I've seen". Ebert hasn't seen a lot of Chinese films but his observation is still to the point. The Story of Qiu Ju seems like it is utterly realistic and revealing and that's what is magical about it. Much of the film, most of it in fact, that involves people surrounding the main characters is captured with a hidden camera and is quite candid and authentic. The scenes focused on the main characters are also shot (and performed) in such a way as to suggest they aren't staged in any way. But don't be fooled. This is the genius trickery of director Zhang Yimou's sweet homage to the days of yore.

A very pregnant Qiu Ju and her young husband are chili farmers and want to build a storage shed for their over-productive crop. They go to the village chief to ask permission and are denied on the grounds that the land is for farming, and that if everyone built a building there would be nothing to eat. Qiu Ju's husband points out that the chief isn't a farmer, doesn't understand farming, and is only raising hens. The chief hears the final remark as a humiliating insult about the fact he has only four daughters—and no sons to carry on his family name—so he kicks Qiu Ju's husband in the balls.

Qiu Ju's story is a journey for justice as she perceives it. She is worried at first that her husband's injury may leave them condemned to the one child policy for good, but her husband soon recovers and the film then chronicles her efforts to get the village chief to apologise. That is the only justice she wants. The chief offers to let Qiu Ju's husband kick him in the balls but he won't apologise. Qiu Ju takes her case up the hierarchy to the district administrators, the county, the city, and the party, with the result always being the same: The village chief will pay for medical bills and loss of work and Qiu Ju and the chief are instructed to engage in some self-criticism in order to regain harmony. And by harmony they mean Qiu Ju should drop the case. Everyone, all the way to the top, is sympathetic to her but they won't ask the chief to apologise because he is the chief and he would lose face and his ability to keep chiefing would be compromised. It's a subtle but huge point in Chinese culture.

This film is so good on so many levels it's crazy. One of the head-scratching wonders of the film is it's portrait of harmonious village life while this minor conflict is going on. The first reaction most people will have to this film is "Are people really that nice and polite to one another"? It's almost a documentary capturing rural Chinese life in the 1990's in all its humble and honest simplicity. It's also an insightful observation on the changing bureaucracy in China, both vertically and horizontally over time. It's a parable which ponders whether the law, the wisdom of elders, or common courtesy offers the best solution to disputes. Zhang Yimou is fascinated, and maybe discouraged (maybe not), by the changing Chinese culture and weaves a grand metaphorical tale for viewers to consider from many angles.

Gong Li's performance is amazing. One of the most beautiful women in the world, she plays this role very down to earth and understated, not to mention pregnant, dressed in peasant clothing, and with a scarf wrapped around her neck and much of her face most of the time. It's not a glamorous role. She is one of only a few professional actors in the film and does a remarkable job melting in among all the real people.

The Story of Qiu Ju is a slow paced, somewhat repetitive film but it's all the better for it. Viewers are treated to a heart-warmimg world of relationships which are themselves slow-paced and repetitive. It would be a shame to rush through it.

★★★★★

Director: Zhang Yimou
Starring: Li Gong, Peiqi Liu, Liuchun Yang, Kesheng Lei, Zhijun Ge

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A Good Rain Knows 호우시절 (Ho woo shi jul) aka Season of Good Rain [2009] • South Korea, China

It would be a spoiler if I were to state one of the main reasons I love this movie. I can say, however, that the film is very much about a Chinese experience, and the fact that it is directed by a Korean is what makes it interesting. There are other good things about the movie so I'll work with them and save the spoiler.

A Good Rain Knows is nice to look at. It's photographed in crisp and bright colors and makes great use of it's locale, Chengdu, the capital city of Sichuan Province. It's got dancing in a downtown square, bamboo groves, even a scene with a panda bear. Gao Yuanyuan as Mei, a tourist guide in a Chengdu park, has never looked more radiant. Jung Woo-sung is a South Korean heartthrob but his acting ability is curious. He always seems nervous. He plays an architect, Dongha, who travels to Chengdu on assignment and runs into Mei, an old and dear friend. There is no plot to speak of, just the unfolding of their past and present relationship that gives the film its purpose.

Dongha, a Korean, and Mei, a Chinese, communicate almost exclusively in English. Since their relationship is presented as fragile and tentative, and since Jung is a nervous actor anyway, having them communicate in broken but understandable English is a stroke of genius from director Hur. If you're bothered or unmoved by the stilted verbiage the film won't work.

In typical Hur fashion, and this film sees him in perfect stride, not much happens. We're presented with a couple characters testing the water to see if, when, and how love will factor into their relationship. The lens slowly gets closer, revealing inner layers, until a small explosion occurs. And in typical Hur fashion this explosion takes place far beneath the surface. We know it's a big one but all we see are the rippling aftershocks (hint) on the surface.

Hur is a fascinating director. In some ways his films are just cheesy romances with questionable soundtracks, but he possesses an emotional intelligence and an eye for subtle soul-searching details that make his films powerful when he gets it right. He gets it right this time. A good rain knows when to fall.

★★★★★

Director: Jin-ho Hur
Starring: Woo-sung Jung, Yuanyuan Gao, Byung-seo Kim

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Aftershock 唐山大地震 (Tang Shan Da Di Zhen) [2010] • China

This isn't a perfect film but its story is so moving that any shortcomings in the telling can easily be overlooked. When an earthquake hits Tangshan in the Hebei Province, China, in 1976 at about 3:30 in the morning, a married couple is ... well, they are having sex in the back of their truck, but that's not important. The couple rush home to rescue their sleeping children. When the mother attempts to run into the collapsing building the father throws her aside and rushes in and the building falls on him and kills him. The children are alive but buried beneath the rubble in such a way that saving one of them would crush the other. The mother has to make a choice. After much weeping and wringing of hands she chooses to save her son. Her daughter hears her mother make the choice. Ouch! The daughter is left for dead but miraculously survives. She's so hurt by her mother's decision she refuses to identify herself and is taken to an orphanage where she is eventually adopted by a young couple who were part of the People's Liberation Army's rescue team.

The first twenty minutes of the film are all about the earthquake and CGI. After that it becomes pure drama, spanning thirty two years, with some haphazard scenes cutting in from time to time. The young boy grows up to be a successful businessman and the young girl grows up to almost be a doctor but marries a foreigner and moves to Canada instead. The  boy doesn't know his sister is alive and the girl, despite the urgings of her foster father, has no intention of reuniting with her brother, or her mother. But the film is less about them and more about the mother. She is the film's emotional centerpiece.

The mother suffers long and hard for the decision she made and for the loss of her husband. She refuses to leave Tangshan because she wants to be there when the deceased return to her. She lives in a tent for a while and moves into a modest apartment when the family home is not rebuilt. Every year she visits a ceremonial site of mourning and gives her husband and daughter directions to her new place of residence.

The film builds to a crescendo culminating in 2008 with the earthquake in Sichuan. The brother and sister both go there and join the Tangshan Rescue Team as volunteers. The film drops into a low gear and downplays the moments when they meet each other and the daughter goes home to see her mother. Then there's all this tension about who should be more sorry, the mother for her decision, or the daughter for condemning and causing her mother to suffer thirty two years for that decision.

All of the performances, except the guy who plays the daughter's foreigner husband, are top notch, especially Xu Fan (the director's real life wife) as the mother. There are all kinds of wonderful and heartbreaking scenarios touching on the nature and loyalties of family. The boy's paternal grandmother wants to take custody of him because now that her own son is dead he is her last bit of male family blood. When the boy becomes a successful businessman he wants to move his mother into a nice new apartment, partly for his own notion of her happiness and partly for not wanting to be perceived as someone who is not taking care of his mother. What loyalties and affections should the daughter have towards her foster parents when she becomes an adult? And, of course, what about the daughter's decision to not let her blood family know she survived the earthquake?

I was moved to tears several times during the film but more from just thinking about the material than from any melodramatic presentation of it. Aftershock has a disjointed narrative from time to time and could probably be improved with a second round of editing. Several scenes appear to be part of something larger that got cut out, and a few scenes seem irrelevant. The director's decision to downplay the climax as long as he can is a little disappointing but it fits with the repressed emotional level of the rest of the film after the initial earthquake sequence which, as we are reminded of in a slightly awkward memorial ending that closes the film, is supposed to be its heart.

Aftershock is the first iMax film produced in China and I have no response to that fact. It has structural weaknesses but it's a magnificent and heart-rending story with a lot of legs. Highly recommended to those who like that kind of thing.

★★★★★

Director: Xiaogang Feng
Starring: Jingchu Zhang, Fan Xu, Chen Li

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The Chinese Botanist's Daughters (Les Filles du botaniste) [2006] • France, China

There has to be a million movies made which ask us to sit through watching some man be a complete asshole so that we can witness the long suffering of the women around him. Often there is a subtext or symbolic undercurrent that the characters and their relationships are meant to represent. This is one such movie.

The asshole in this film is the Chinese botanist and he represents a tyrannical and repressive society. He makes ancient herbal remedies in a botanical paradise he has constructed on an island that is supposed to be somewhere in Yunnan Province, China. The long suffering woman in the film is his twenty year old daughter. She waits on him hand and foot. She cuts his toenails. She represents all that is good and new and wonderful yet shackled in the modern world.

The film has good intentions and attempts to expose some of the lingering absurdities of Chinese traditional values in general and those of the Cultural Revolution in particular. One day another young woman arrives on the island to intern with the botanist. She brings a talking bird that squawks "Long live Chairman Mao" all the time. The two women fall in love, the father sees this forbidden love in the flesh and dies of a heart attack. Really. The two young women are put to death for the crime of the disease of homosexuality that caused the death of a prized botanist.

The director wants to make a point of how fucked up the situation is but he takes it to a ridiculous extreme, much like the film's soundtrack of crescendoing choruses and violins. It's too bad because the film has a strong and very sensual visual appeal. As mentioned, the film's location is supposed to be somewhere in Yunnan, one of the most beautiful places in the world, but because of the homosexual content Chinese authorities prohibited the director from filming there. The irony. So it's filmed in Vietnam where it's green and lush and dripping wet. If all the scenes of the father being an idiot were removed The Chinese Botanist's Daughters would be a gorgeous film.

Sijie Dai, the film's writer and director, was sent to a reeducation camp as a young man during the Cultural Revolution. He's clearly exorcising demons and I would like to applaud his efforts but while the theme of The Chinese Botanist's Daughters is worthwhile the particulars are schmaltzy, unpleasant, and far too melodramatic. Dai's earlier film Balzac and the Little Chinese Seamstress is a much better film dealing with the Cultural Revolution.

Mylène Jampanoï, who stars as the woman with the talking bird, went on to star in the French extreme horror film Martyrs.

★★

Director: Sijie Dai
Starring: Mylène Jampanoï, Xiao Ran Li, Ling Dong Fu, Wei-chang Wang

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Go Lala Go! (Du Lala sheng zhi ji) [2010] • China

I enjoy Xu Jinglei as an actress and think her move to behind the camera has shown lots of promise. I wish I didn't have to report that her latest film is a disappointment. To be fair, it's a disappointment because it's not what I expected from her. Go Lala Go!, in which she stars and directs, has none of the depth or artistry of Letter From an Unknown Woman or My Father and I. Go Lala Go! is about promotion hungry corporate trash, and it's pure popcorn fluff, hyper-kinetic and full of fashionable costuming, hairstyles, and product placement.

But is it good popcorn fluff? I'm not sure but I'm inclined to say no. It did very well at the box office (in China, in case that's not clear) and there's probably a reason. First of all, it's solidly within the constraints of the Chinese Film Bureau's guidelines of what kinds of stories should be told and what kinds of messages are permitted. Specifically, with regards to rewarding foul play, there's none of that. Lala's rise up the corporate ladder is entirely the result of good honest hard work. Yes, she sleeps with a high level big shot Director of Sales but it's for love, not strategy, and the film shows it as problematic. In fact, inter-office relationships are a major theme in the movie. A blind eye is sometimes turned but for the most part they are considered not a good or acceptable idea.

Another reason for its success may be that it puts on display all the name brands and fashionable accessories many millions of Chinese feel they are fairly close to partying with. Even though us educated capitalists are hip to that myth, there's a younger generation of Chinese that is probably tired of, or uninterested in films that wallow in a prideful past and they want to dream about a possible future instead. That's all fine and good, and maybe I shouldn't rush to judgement. Xu Jinglei has given the masses what they want. Good for her. She made some money, hopefully.

There's some cultural interest for non-Chinese in Go Lala Go!, but as a film it's thin and a little too chaotic. The chaotic part seems intentional. It's almost as if Xu discovered downloadable iMovie Transitions and went nuts. The direction is strong, consistent, and assured, but it's a style I don't fancy even if it serves its content well. There are some decent comedic bits, Xu possessing a courageous inclination for the self-deprecating, and some of the love geometry is OK, but it's all stirred in very quickly, giving the sense that it's not important. Scenes just sort of smash into one another. Karen Mok is fun and she still has great legs but the American-Taiwanese pop star Stanley Huang as Lala's love interest didn't do much for me. There's some nice scenery when they all vacation on the beaches of Thailand, but not much to the story.

I still can't wait to see what she does next.

★★

Director: Jinglei Xu
Starring: Jinglei Xu, Stanley Huang, Karen Mok

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The Road 芳香之旅 (Fang xiang zhi lu) [2006] • China

I'm continuing my Zhang Jingchu marathon and it's going well. This may be her best and most challenging role yet, and it comes from very early in her career. When she is given a starring role (Night and Fog, Red River) she really shines, seeming less remarkable when she plays a supporting role (Overheard, Protégé, Beast Stalker). Here she plays a character who goes from a teenager to an old lady over the course of a film that spans more than four decades. These kinds of roles come along every so often for actors and actresses, their success relying quite a bit on makeup—which in this case is pretty good for such a low budget film—but the challenge, one which Zhang seems to rise to, is also to convince us that the character has grown and changed along with the events of the film.

Zhang is probably weakest as a teenager, not because she doesn't look the part or do it well, it's more like she is so good it's annoying. She's going at 150 miles an hour constantly and is just a little too charming. Moving along we see her as: a young woman coming to terms with her sexual desire amidst a conservative society; a dutiful wife in an arranged marriage; a middle-aged woman coming to grips with the challenges and changes in her marriage; and finally an older woman dealing with tragedy and a society that seems to have fully left her behind. She is better and more convincing with each progression.

Of course it helps when playing this kind of role if the film is good, and this one is beautiful. Filmed in the Yunnan Province of China, the cinematography is breathtaking, the story a poignant one. The film begins in the mid 1960s when the spirit of the Communist Revolution was still high and the excesses of the Cultural Revolution hadn't kicked in. Zhang plays bus ticket girl, Li Chunfen. The bus driver, played wonderfully by comedian exploring serious film roles Wei Fan, though much older than Li, has a crush on her (like almost everybody else). Li's affection, however, is for a frequent passenger, Dr. Liu, who's been transferred to Yunnan because his family was rich and he's a bit of an intellectual, qualities that are increasingly suspect as the Cultural Revolution begins its life. The doctor has been sent to a hard labor camp and when Li sneaks out to meet him one night and is caught, things change dramatically for her. She is forced into an arranged marriage with the bus driver who uses his clout with the local party leaders to help her avoid a fate worse than the surface level crime of losing face and bringing shame upon herself.

I don't want to give a complete play by play of the storyline, suffice to say The Road is not only a personal journey and a love story—a really touching one, it turns out—it's also an educational story for those of us unfamiliar, as a portrait of changing times in China, lovingly told. The "Old Days" are seen as both good and bad, depending on your place in society or point of view, but most noteworthy is how both sides are presented without judgement. It's a tone poem, an ode, to the complexity that is recent Chinese history. The film takes us from a time when a sense of community and shared values were alive, through the violence and upheaval of the Cultural Revolution, and into modern times where some celebrate the loosening of a moral structure and others remember it fondly. And it does it without any political agenda. It's beautiful. Bravo.

★★★★★

Director: Jiarui Zhang
Starring: Wei Fan, Yuan Nie, Jingchu Zhang, Jong Lin
IMDb 7.2 (185 votes)
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Happy Times 幸福时光 (Xingfu shiguang) [2000] • China

I love Zhang Yimou when he does these common-people flicks. This one is funny, touching and real. A fifty-something guy, who so desperately wants to get married and have someone to snuggle with at night, ends up housing and employing the beautiful eighteen year old blind step-daughter of some really unattractive and overweight woman as a sign of his commitment. The fat woman doesn't want the girl because she is a hassle to take care of and the girl was abandoned and dumped on her by some previous loser dude anyway.

As part of his marriage scheme the man lies to the woman, telling her he is the manager of a hotel. But the hotel is nothing more than an abandoned bus in a park that a friend of his had convinced him to slap a coat of paint on and charge young couples to sit inside it and make out. The man had at first hired the daughter to clean up the bus between customers, but when the city hauls the bus away as part of a beautifying the parks campaign the guy is forced to find other means to employ the girl who possesses nothing but cleaning and massage skills. Him and several of his retired friends construct a massage parlor room inside an old warehouse and then take turns getting massages from the girl. He has to pay his friends to get the massages, and they in turn give the money to the girl for tips. The farce can't go on forever, as the guy doesn't have much money to begin with, and it doesn't.

There is some disagreement about how this film should have or could have ended. Suffice to say it's pretty sad, and left rather unresolved. So you just have to accept it and be kind of bummed out (but in a good way if you go for that kind of thing). Dong Jie turns in a sweet and convincing performance as the young blind girl. There is nothing creepy about the film at all. Ebert doesn't get it.

★★★★

Director: Zhang Yimou
Starring: Benshan Zhao, Jie Dong, Lifan Dong, Biao Fu, Xuejian Li
IMDb 7.4/10 (2,306 votes)
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Red River (Hong he) [2009] • China

Another film starring Jingchu Zhang. This woman is surprising me. I have seen, and liked, her bit parts in Overheard and Protégé, a couple manly pictures where the female roles amount to no more than looking good, which she does very well, and assisting the story arc of the manly men moving forward, which she does very well. I didn't imagine her being capable of so much more than that. Ann Hui gave her a starring role in a film I recently reviewed, Night and Fog, and Zhang owned that film. So here comes Red River, another starring role.

The film didn't make a big splash and seems to have gotten lost in the shuffle of the many films that were produced to commemorate the 60th anniversary of Communist China. I'm not entirely sure of what connection this film has to that celebration because many of the cultural particulars were lost on me. The film is set near the Red River at the border of China's Yunnan Province and Vietnam. Problem is, Zhang is a Mainland Chinese woman playing a young Vietnamese girl and the other three stars are Hong Kong actors. The dialog seems to drift between some Mandarin dialect and broken Vietnamese—phonetically spoken by the Hong Kong actors—and I couldn't keep a firm grip on who was supposed to be Chinese and who was supposed to be Vietnamese or when things were supposed to be happening in China, or in Vietnam. Things become clearer as the film goes on but while I was working through it, I was confused.

Setting all that aside, Red River is also a rather sweet gender-swapped Oedipal love story interrupted by gangsters. The story starts off with a brief prologue set in the Vietnam war era seventies. A little girl, Ah Tao, witnesses her father being blown to bits by a land mine when they're flying a kite together. Big Bummer, that. It then jumps to the nineties with Zhang playing Ah Tao, all grown up but suffering mentally from the trauma. She's working as a cleaner in a massage parlor (in China) owned by her aunt who has a friend, Ah Ha (Cheung), who happens to look a lot like Ah Tao's father. Ah Ha discovers Ah Tao has a marketable singing voice so he's nice to her while trying to make money off her by charging people a couple dollars to Karaoke with her. The aunt also has a wealthy and cruel gangster client who's pissed off because he had a leg blown off in the Vietnam War, and he takes an interest in ah Tao because, since she's mentally challenged, she doesn't know enough to avoid him. Ah Tao's affection is for Ah Ha, because he's nice to her and he doesn't kill people for a living—and the other thing—so she runs off with him. This angers the gangster who chases after them to get her back. Tragedy and trouble ensue. Things end sadly.

So much for the story. I really like Zhang's performance. Playing a mentally challenged person is a tough role. More often than not actors resort to obnoxiousness and slobbering to get the point across. Zhang plays it sweet and clean. A Variety reviewer calls Zhang's performance too "one-dimensionally wide-eyed" to be convincing. She is wide-eyed, to be sure, and she may be one dimensional, but her dimension comes off as childlike freedom, unencumbered by the nuances of modern bullshit living that clobber any hope for happiness. That's the beauty of the way Zhang plays it. Her handicap is a freedom to approach the world in a state of honest and hopeful wonderment. She's seems happy scrubbing floors and singing for people, and Zhang does a fantastic job bringing that to life.

I may object on principle to the film business habit of having drop-dead gorgeous women with perfect skin, hair, teeth, and nails playing mentally retarded Vietnamese refugees scrubbing floors in massage parlors—but not in practice. Zhang is both beautiful and talented. She's pleasant to look at and she does a good job.

★★★★

Director: Jiarui Zhang
Starring: Jingchu Zhang, Loletta Lee, Nick Cheung, Danny Lee
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Nuan [2003] • China

This is very good looking film. It's a fairly typical Chinese story about a village boy who goes to the city for university and returns ten years later for a quick visit and runs into the girl who was his first love, and to whom he promised he would return to after university. Liar! The woman gave up waiting for the guy and married the village idiot who is also mute.

It's a Chinese film, but Japanese actor Teruyuki Kagawa plays the mute guy and it's the first of the many roles I've seen him in that I haven't liked. He pretty much killed the film for me. He won awards for his performance, it's just that I dislike characters who act like ill-mannered assholes, so your mileage may vary.

The whole film is a little slow on the uptake with all kinds of flashbacks going on to show the young lovers. The back and forth from present to past has an odd rhythm. And the big moral of the story comes up wimpy sealing the deal: "I'm a liar but the girl I lied to seems happy, so that's good. I guess I'm a loser". Or something like that. Excepting the beautiful cinematography, the film feels like it was put together by folks with good intentions lacking a mature vision beyond simply capturing a place in time. Some times that works and some times it doesn't. I liked the early love birds and the scenery but the film kept frustrating me in its execution.

★★★

Director: Huo Jianqi
Starring: Xiaodong Guo, Teruyuki Kagawa, Jia Li
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Shanghai Dreams (Qing hong) [2005] • China

This is one of those Chinese films about things Chinese. In this case the underlying subject matter is the Third Front, where families were sent from the cities to live and work in the countryside in case the Soviet Union invaded China and clobbered its cities. The main interest here, for me, is this historical angle. China has pulled off a number of wacky full-on country-wide social experiments and I found it interesting to become acquainted with this particular one. Imagine for yourself if you are a big city dweller that you are persuaded (or coerced) by your government to move your family to the sticks. You'd probably dream every day of moving back to the city but the reality is that the dream becomes more and more remote as time goes by. You'd try to think about what's best for your children, but they might have different aspirations. All of this is explored in Shanghai Dreams.

The film takes place in the early eighties which means certain seventies western fashion trends were just filtering in and the director captures some of these with a sad hilarity. The "dance party" scene is priceless. Consider the film more educational than emotional. Big complaint: Gao Yuanyuan, so good in Season of Good Rain, is too old for her character and, honestly, doesn't seem to have honed her acting chops just yet.

★★★

Director: Wang Xiaoshuai
Starring: Yuanyuan Gao

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Not One Less (Yi ge dou bu neng shaocom) [1999] • China

Somehow thirteen year old Wei Minzhi, who appears unable to act her way out of a paper bag, turns in the performance of a lifetime. Blushing, awkward body language, a drifting gaze, and a pre-adolescent thespian's grasp of dialog pacing, filmed docu-realistically, come together to create the most endearing character I've seen in a long time. The film employs nonprofessional actors throughout, mostly children, to amazing effect. It's painful to think that this film portrays a reality of rural China so the story all by itself will probably make you cry. Seeing the story presented by a cast of real people makes it all the more powerful. The stubborn persistence of Wei's character, at first unrealistic, becomes poetic and inspiring. She has been tasked, as the substitute teacher in a rural village school, with delivering the class intact to the school master when he returns, Not One (student) Less. When one of the students leaves the school to find work in the city she follows him and tries to bring him back. The village scenes paint a harrowingly sad portrait of life there and the city scenes illustrate the divide between the two worlds. The ending might seem contrived but if ever there was a story that deserved a happy ending it's this one. A remarkable film.

★★★★★

Director: Yimou Zhang
Starring: Minzhi Wei, Huike Zhang, Zhenda Tian, Enman Gao, Zhimei Sun

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