Zhou Yu's Train

ZHOU YU'S TRAIN is the type of film that may require repeat viewing in order for the casual viewer to take in all the thia story has to offer: if you blink -- much like the effect of the quickly passing scenery out the window of any train -- you might miss a plot line, a character moment, or a perspective that would better be explored, as the climax to this evenly and perhaps-too-leisurely-paced romance shows.

Zhou Yu (the lovely Gong Li) plays a young painter who falls in love with a shy poet, Chen Ching (played by Tony Leung Ka-Fai). Twice a week, Zhou Yu rides the train to be with him. On the train, however, a humorous veterinarian (played Sun Honglei) sees, approaches, and flirts with her. While she initially resists his desire, she eventually gives in to an indescribable curiosity which forces all of them to examine their various roles in one another's lives.

While one could hardly argue with the notion that there are parts of TRAIN that appear uneven and, at least, forced, the film still manages to deliver a perspective worth a single view: who does Zhou Yu love and why? Torn between these two men for wildly conflicting reasons, she can't make sense of her dilemma. Instead of running from one of them, she inevitably chooses aspects of both for her affection, but this choice only forces her further and further into confusion.

As a result, TRAIN explores more than one budding relationship, making the film as uneven as it is unpredictable. In fact, one could make the argument that what truly is transpiring here cannot be fully understood and appreciated until the film's final few moments .. but even then the viewer is left with many unanswered questions. Is that the message of the film, that life brings more questions than answers? Or is it merely a comment on how Zhou Yu chose to live her life? Or is it something even more?

Regardless, what is clear is Zhou's desire to seek the answers to questions of the various loves in her life (two men, friendship, art, etc.), and the narrative clearly appears to be a device through which an exploration of the female mind and heart is undertaken. Whether you reach a destination is left entirely up to the viewer.

Of course, the best scenery is Gong Li. She plays even utter confusion with beautiful conviction. If you're a fan of her work, then TRAIN is definitely for you.

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.

"The way to a woman's heart is through a poem".....so it seemed in this visually stunning cinematic experience.

One eventful day, Zhou Yu a pretty painter from Sanming embarked on a train for trip. She chanced upon a handsome but shy aspiring poet, Chen Ching. He captivated her and soon captured her heart with his poem personifying her natural beauty and comparing it to that a celestial lake.

Soon they fell in love and began their twice weekly passionate affair while commuting to the city of Chongyang. But a fellow commuter named simply as Zhang Qiang, a veterinarian came in between the two lovebirds, with a secret amorous agenda of his own for Zhou Yu.

But this is more than just a love triangle!

A new woman named Xiu came into the scene. She looked exactly like Zhou Yu. But the scene took on a different era; a different time period. She was reading the book, "Zhou Yu's Train".

Is Zhou Yu a real person? Is Zhou Yu really was Xiu? Or is Zhou Yu a figment of Xiu's romantic imagination?

Be prepared for this surreal, non-linear movie experience.

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.

In comparison to most other Chinese movies, the title of this movie has very significant symbolic meaning, symbolizing the point of no return. It also has an poetic meaning, which neatly related to the plot of the movie which include a poet. This is one of most obvious achievement of this movie, which also makes it a little different from the rest of Chinese movies.

The social critic aspect of the movie is rather something ordinary, a theme that is common in most social critic films in contemporary China, and it is none other than the criticism of hedonism, materialism, and other common stuff you would find in Chinese movies about modern China.