Lost in Beijing

A truly wonderful movie.

It is rare (incredibly so, given the number of mindless and/or self-pitying movies that spew out from Hollywood) to find a movie that portrays the strengths, weaknesses, goods and ills of its protagonists so well.

The people (note: not characters) in this flick are so well portrayed that, by the end, you don't know whom to hate and whom to side with (with one obvious exception -- but are even that person's decisions the right ones?) Given that it has been banned in China, I perhaps foolishly succumbed to the current US government's anti-China propaganda, and expected there to be political reasons for the ban, but that is quite obviously not the case.

If anything, the ban was more from the fear that people "down on the farm" would come to think that living in a major Chinese city carries with it the same fears and worries as living in a major US city -- which, let's be absolutely honest, is nowhere near the truth.

It's beautifully written and beautifully realised. Far and away better than any Western movie I've had to sit through, lately -- the words "sex" and "city" come to mind. In some ways, it's the same basic idea as that movie , but there's just no comparison.

The only possible bug-bear for Western viewers is that Chinese emotions may be "inscrutable" to them, because they're not used to the East/West differences in facial characteristics. I'm British, with a Royal Navy background, so I can perhaps see such things more easily than someone from "down on the farm" in the US -- but it can't be that hard to see what the characters are feeling, when the actors are playing the parts so well.

Be ready to laugh, to "maintain a stiff upper lip", to hate people for what they do, and to love those same people for other things they do.

It's a blinder, this one. Watch it.

Addendum: Could the IMDb spellchecker be made to take note that the Websters is not a real dictionary?

A lower class, working, married woman gets pregnant with lots of plot twists, money, moral dilemmas and human intrigue. If a travelogue/vocabulary brush up is your motive for watching there are some shots of Beijing looking bleak in winter, Tienamen Square, and the Forbidden City in the background during a conversation. My food-traveler mother wanted to know if there was food. With the key character being a pregnant female, she's eating all the time. If low-grade, sordid, masseuse/hooker scenes are what you seek, quit watching after the early drunken rape by boss scene. Otherwise that cutoff point is where you will quit watching, disgusted, wondering why the film wasn't cataloged as porn, but it is also exactly when the film gets interesting and stays interesting to the end. I started cleaning the kitchen at that point but checked in on the film running in the background just in case it redeemed itself. It did redeem itself, and turned out to be captivating.

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.

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!!!!