Zhou Yu's Train

Poetic, delicate, subtle. European film with Oriental irisations. Story about love and desire, about power of images and the honey of illusions. Cercles of symbols and chimeric gestures. Time like far lake and the past like only form of present. And a feminine Adonis between two different worlds.

The character of Li Gong is a magnificent miniature not of a sensitive age or ambiguous feelings but for a way to define the existence. A way to explore each miracle as part of a sacred refuge, a river-trip. The train and the travels to loved friend, the poems and the house like essential sanctuary of a wonderful past, splendid for his ambiguity, the talks with realistic, sarcastic man for who the dreams are only offals of lost age and Zhou Yu- a pretty prey.

For this film, the gestures or words are pieces of intense atmosphere. The search of truth is element of personal religion, the love- delicate shard of beautiful pot. The answers- breath of wind in a spring day. And the time- huge shadow of a way.

Li Gong is just about the best thing ever to come out of China. No matter how many films I have seen featuring her, I am always impressed.

This is a difficult film to watch. You are never quite sure who you are watching. Li Gong is in a relationship with a poet (Tony Leung Ka Fai) and the practical vet (Honglei Sun). She travels by train between them.

But, are we watching events in real time or narrated? It seems that what we are seeing is in the past. That the poet, Chen Qing, has a current relationship, and only has Zhou Yu in his heart.

If this were an American film, then I believe it would probably be relegated to Lifetime, but with Li Gong, we have more than romance; we have poetry.

This film tells the story of a woman who is in love with a poet far away, while a vet near her attempts to win her heart.

"Zhou Yu's Train" is not told in a linear manner, and hence it's super confusing. All the time, I thought there were only three main characters, the woman, the poet and the vet. The story jump back and forth, and it's hard to piece together the fragments to make a coherent story. This is not helped by the slow pace, numerous scenes of train and railway tracks, dragging the film longer than it needs to be. The most confusing thing is the ending, I didn't understand it at all, until I read the message board that says there is in fact a fourth character, also played by Gong Li! The film lost me and my interest completely, and there is no turning back. It would help to understand the story if I watched it again, but I'm not watching it again for sure.

The movie stays with you through the years. I saw the movie more than a decade ago and I still remember it. It seems slow-paced especially for young people, but it has lessons about life and relationships. The symbol of the lake used in this movie is very powerful (beautiful natural lake versus artificial lake). Love relationships could be exactly like the lake example.

Li Gong, better known as Gong Li in the West, stars in this taut, probing but occasionally confusing love story set in today's China. Extraordinarily beautiful and also very accomplished as an actress, Gong Li is on a hiatus from historical spectacles and films with a threatening, for the government, political subtext. I doubt any cultural satrap was put out by "Zhou Yu's Train."

Zhou Yu paints bucolic and traditional scenes on cheap porcelain before they're finished and sent out to the world's Chinatowns or Chinese cities for sale to tourists. She's talented but so are all the other women in her shop. Great art this ain't.

Zhou Yu regularly takes the train to another city where her not brimming with self-confidence poet boyfriend, Chen Qing, lives. Chen is played by Tony Leung Kafai. On the train she meets veterinarian Zhang Quiang, Hanglei Sun. He pursues her and a triangle develops, not an original one at that.

Director Zhou Sun has Zhou Yu torn between a poet whose so far failed efforts at recognition she wishes to reinvigorate and advance and a country farm animal vet, a more lighthearted chap. The train is a metaphor for separation and emotional journeying. The train takes her between worlds, not just stations.

A bit confusing, at least with subtitles, is Gong Li's second role as a narrator who appears at various points but who also has a direct relationship, apparently platonic, with Chen. Perhaps it's clearer to those who understand Chinese.

While Gong Li has several passionate love scenes, she orgasms without getting undressed, a tired sop to Chinese moral values which impact on directors' freedom. A shower scene shows nothing below her shoulders. Erotic? Actually, very.

The highpoint of the movie is Gong Li's total and believable immersion in a role that isn't very out of the ordinary. But her acting makes the audience care about the resolution of her dilemma, one that I suspect many viewers will not like.

Tony Leung Kafai and Hanglei Sun turn in fine performances in roles clearly subordinated to Zhou Yu's centrality in the tale.

This story would amount to a "B" film if populated by Americans living in the rural Midwest. But as a look at changing mores in China it justifies a

7/10.