Lost in Beijing

I just saw Ping Guo at the Berlin International Film Festival, Germany. It was really the best movie i saw there. In 2002 Li Yu was at the Berlin International Film Festival with her first feature Elephant And Fish and now I'm more than happy to see that she came back with her third movie. Ping Guo has such an amazing attitude towards its figures. The acting is amazing and thanks to the great script you follow all the twists trustfully because they just come along authentically. The cinematography is amazing. It's never just aesthetic but follows the action organically. I really hope we will see Ping Guo in the cinemas soon! China is lucky to have such a talented female director - I hope I will see a lot more by her!!!!

This is a story about Liu, who works in a massage parlor (mostly just foot massages) for boss Lin Dong. After getting drunk with a friend from work who was fired, she gets raped by Lin Dong. It turns out, Lin's husband An Kun, a window cleaner just happening to be cleaning the windows at the time and witnessing this, tries to extort money from the boss. Liu becomes pregnant and there is a question of the unborn baby's paternity. Since the boss's wife Wang Mei is unable to bear children, Lin Dong wants badly to be a father, and makes a deal with the girl and her husband, that if its his baby, he'll keep it and give the couple $100,000 yuan. The film is at first farcical due to its unusual premise. It then becomes a strange morality play, that telling lies turns to pain. Beijing is pictured in every outdoor frame of the film as bustling, with constant high rise construction going on. However, I don't see specifically what relevance it has to the story, except to highlight haves and have nots (and want a lot mores). No joke here, it could have been "lost" in any decent sized city in the world. The real problem here is that there are no characters to like, except, to an extent, the wife of the boss, Wang Mei. This film, by the end, filled me with more indifference than pity or hope. I get it, money probably is everything. Everyone in this film made their bed and is now lying in it (the pun is completely intentional). If you have seen the actors in other films and like them, by all means go see this film. However, if you're not a giant fan of films made in mainland China, I'd skip it.

I see this movie as a commentary on the new morality in Beijing brought on by modernization. This modernization could not have happened unless there was a mobile work force so the government made a conscious effort to diminish the familial bonds. How else could a worker travel thousands of miles to Beijing or Shenzen to find work? Money had to become of greater importance. The other modernization was that men could only legally marry one woman. In previous times, men would take another wife. In previous times, families would buy children.

With these two changes to Chinese society, this movie could ensue. An Kun and Liu can now be in Beijing. Lin Dong and Wang Mei would be childless. The lust, heartbreak, the anguish, the loathing, all results. The viewer is left with the question whether the new morality is better than the old. I think the writers preferred the old.

Peng Guo is the story of a young provincial Chinese woman in Beijing, Liu Pengguo, caught between the sexual and financial desires and demands of her husband, An Kun, and her boss, Lin Dong.

It is said that all cultures pass through certain distinctive stages before reaching decadence and decline. I would like to think that one of these stages, one that comes somewhere towards the end of industrialisation, relates to the need to make rather miserable social realist films with wobbly camera work, jump cuts, shallow focus, piano scores in minor keys, and long takes of (non-professional) actors "acting", which win Golden Somethings at European film festivals. China, it appears, is no exception.

OK, I'll admit to being cynical. It is clearly a well-funded, well-produced, and well-observed drama. And I suppose that social realist films don't generally have happy endings, so I shouldn't be smug about that either. Yet, if I had to distil my criticism down to one thing it would be the director's wilful conformity to the "genre". I find myself yearning for Zhang Yimou's films of the late eighties and early nineties, when Chinese film had a real sense of identity. Now it seems to be a mish-mash of various Western influences and little substance, a bit like Mando-pop (just with less smiling). This "conformity" takes on an ironic edge, not just because it was made under a communist government, but because the government banned it. In addition, the producers have been banned from making another film in China for two years, which strikes me as being just enough time to promote this film in Europe, write another one and get some European funding for it! OK, OK, still being cynical. It is a good film. The script is engaging and occasionally quite surprising (especially as we all know it's going to end in tears). The acting is good all round, especially thanks to two Asian cinema stalwarts Tony Leung Ka Fai and Elaine Jin (think Robert De Niro and... um... Juliette Binoche?) playing the boss and his wife, Wang Mei. Elaine Jin steals the show really, creating a character who is both impetuous and enigmatic at the same time. There are some nice insights into Beijing life, which are welcome post-Olympics razzmatazz. The direction is a bit contrived as I have noted, but when director Yu Li finally shakes off film school and gets the camera on a tripod it makes for a nice last few scenes.

That said, the film struggles to find its focus. While it's clearly a film about Fan Bingbing's physically and emotionally abused heroine, the POV shifts to that of her husband for large swathes of the narrative and we are left feeling rather sympathetic for him despite his (rather unsubtle) faults. The second act lightens in tone so much that it seems to be heading towards black comedy. The one and only sub-plot involves a prostitute who seems to be there to remind us that the four central characters are not the only ones having a crappy time – and she drops out of the story just as conveniently.

And then there's the controversy. Yes, it's got sex in it and no, Beijing wasn't happy with that. Would the film be any different without the sex scenes? Not really - decide for yourself. Two swallows don't make a summer, just as two arses don't make a controversial film necessarily polemical. Mind you, 2007 was quite a year for Hong Kong film royalty showing their posteriors - the other Tony Leung (Chiu Wai) bared his for 'Lust, Caution'... But I digress.

If you have watched a lot of these films from emerging economies, you will recognise the format all too well and, given the necessarily downbeat subject matter, the only pleasure might be guessing exactly how everyone is going to plunge into the misery for which they were all destined. Oh well. As films of this genre go it's not bad, so give it a go and make your own mind up.

This is the first movie I've seen come out of Mainland China of respectable quality. I'll admit I haven't seen many, but from what I have seen, this is certainly above and beyond.

The story is about a poor migrant couple and a wealthy couple living in Beijing. Their lives become intertwined through a set of unfortunate and somewhat disturbing circumstances.

I'm not perfectly fluent in Mandarin, but the acting was good from all four main characters. The less experienced Bingbing Fang was especially good as Ping Guo, the lead character. The scenery is set amid the toxic haze of a sprawling Beijing with lots of greys and muted colours.

The best thing about the movie for me was the amazing contrast between the lives of the rich and the poor. Even though I'm surrounded by it daily, this movie gives a little bit more intimacy than what I'm normally exposed to. Other common themes were greed and face.

Ultimately, the production values of the movie were very good, from the cinematography to the acting, but the conclusion doesn't really leave you with a good taste in your mouth. I think this is good though, because it sticks closer to what reality might be like, instead of having clearly defined heroes and antagonists with a full circle ending.