Suzhou River (Ye Lu, 2000)
Posted: Sun Sep 09, 2012 8:01 am
This movie is in my top 10 films that I adore to an irrational degree. It is gorgeous, haunting, and I do believe it surmounts its various and very direct influences and gets to be its own special beast, running through its own vivid jungle. And for many of us it introduced Zhou Xun, that most rangy and resilient of a new generation of Chinese movie stars. But my Artificial Eye DVD developed some kind of disc rot (freaking me the hell out), and I suddenly learned that that disc is out of print, and only available at super-high rates, used, from people who won't ship the film overseas. Suddenly I come to understand that this is one film that is really unlikely to get upgraded to blu-ray. Does it ever play at festivals or anything? Lou Ye's rep seems nearly kaput, and I don't see retrospectives for him in the future anywhere.
Like Valerie and Her Week of Wonders, it seems to be pointed in a new and radical creative direction that no one within its film movement ran with; unlike Valerie, it has no splurging fantasy or ambiguity likely to capture a later age of viewers. On the other hand, the film led me to seek out new movies by Lou Ye and follow him through years of misfortunes, growing ambitions and projects of diminishing interest (it seems to me). The movie is like slacker-Borges swathed in industrial supergrunge spiked with jabs and rushes of late Fassbinder feverish color. So many moments have such charm: the camera kissing Zhou Xun; the way the cameraman, shooting from his balcony, picks out people on the street to be the protagonists of his story; the simple shots in which Mardar enraptures Mei Mei with his story of a girl who looks like her.
But the bottom line: it's close to inaccessible, and Criterion doesn't have a record that professes love for Chinese movies in general, so I don't see them swooping in to the rescue. Artificial Eye isn't about to start reaching into its back-catalog for blu-ray releases, and if they did this isn't the first, second or third movie they'd reach for. And how would you sell this to fans of, say Jia Zhangke? "If you liked Still Life...this film is in many ways almost the opposite?" Other films on my top 10 are at least legendary, like Raining in the Mountain. People won't completely forget them. But I think this movie is pretty much on the brink.
Like Valerie and Her Week of Wonders, it seems to be pointed in a new and radical creative direction that no one within its film movement ran with; unlike Valerie, it has no splurging fantasy or ambiguity likely to capture a later age of viewers. On the other hand, the film led me to seek out new movies by Lou Ye and follow him through years of misfortunes, growing ambitions and projects of diminishing interest (it seems to me). The movie is like slacker-Borges swathed in industrial supergrunge spiked with jabs and rushes of late Fassbinder feverish color. So many moments have such charm: the camera kissing Zhou Xun; the way the cameraman, shooting from his balcony, picks out people on the street to be the protagonists of his story; the simple shots in which Mardar enraptures Mei Mei with his story of a girl who looks like her.
But the bottom line: it's close to inaccessible, and Criterion doesn't have a record that professes love for Chinese movies in general, so I don't see them swooping in to the rescue. Artificial Eye isn't about to start reaching into its back-catalog for blu-ray releases, and if they did this isn't the first, second or third movie they'd reach for. And how would you sell this to fans of, say Jia Zhangke? "If you liked Still Life...this film is in many ways almost the opposite?" Other films on my top 10 are at least legendary, like Raining in the Mountain. People won't completely forget them. But I think this movie is pretty much on the brink.