Moral: China = one big clusterf**k. Well, there's more than that. The film was effective in transporting the viewer into crowded scenarios in just about any context: trains, homes, public stations, factories, rinse, wash, repeat. But the film took some kind of Soderberghian low-fi approach to storytelling, rather
than taking a documentarian approach. The story specifically follows a mother and father who work 2100km away from their children - who are being raised by the grandmother - and the sacrifices they make for working hard and raising money for them from afar, bla dee bla bla. It's meant as a juxtaposition to the western way of life, but the sheer staginess and artificiality of each scene didn't let us forget that with a few inserted lines of exposition: "Westerners are fat!" "Westerners spend all their money!" etc. etc. It was tiresome, and the story uninvolving because at least 3/4 of the film seemed fakely set up. Sure, there were some artistically rendered frames of the lovely Sichuan province and the grimy, hazy cityscapes choking in factory smoke (evoking those Police lyrics, "it's dark all day and it glows all night, with factory smoke and acetylene light"). But there are some frames that feel too much like the director asked the subjects to sit in a certain way because it might look neat or something. There's not a whole lot of intimacy with a teenage girl lamenting her grandfather's passing to a Buddha idol with a cameraman standing 3 feet away in her face. I mean, unless this is a fiction piece - and it isn't - how can you really be absorbed with the story? Because of this specific inauthenticity, the grander authenticity of cultural sacrifices and a study of Chinese peasantry was impeded greatly. In other words, it was a really, really boring film. And that's too bad, because there was some good material here to work with.
October 27, 2010
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