Spring Fever (Chun feng chen zui de ye wan) (2010)
Average Rating: 5.2/10
Reviews Counted: 15
Fresh: 7 | Rotten: 8
No consensus yet.
Average Rating: 4.8/10
Critic Reviews: 8
Fresh: 4 | Rotten: 4
No consensus yet.
Average Rating: 3.4/5
User Ratings: 189
Nanjing, present day, springtime. Wang Ping's wife suspects him of adultery. She hires Luo Haitao to spy on him and discovers that her husband's lover is a man, Jiang Cheng. It's with this man that Luo Haitao and his girlfriend, Li Jing, form a torrid love triangle. For all three, it's the beginning of asphyxiating, sultry nights of physical abandon that exalt the senses. A sulfurous journey into the confines of jealousy and obsessive love. -- (C) Strand
Aug 6, 2010 Limited
Aug 17, 2010
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Portrays contemporary China as a seething hotbed of erotic curiosity and discontent.
So what do you do once the Chinese authorities forbid you from making movies for five years?
For long stretches of this tantalizing, romantic, aggravating film -- until just before its extremely satisfying ending, in fact -- I wished Lou had caught a little spring fever himself, cranked up the volume, and turned on the lights.
Its examination of identity and loneliness begins to feel like a soap opera season boiled down into one very long episode with too much happening.
I think there's meant to be a tender love story buried somewhere in all this remote melodrama, but none of the five major characters makes the slightest impression.
This overlong and very Euro-flavored "Spring" won't make many B.O. wickets bloom.
This tale of gay men and their woes in China is courageous, but too self-consciously directed and lugubriously uninvolving.
The poppy soundtrack in the clubs scenes and a karaoke bar scene proves Noël Coward's observation, "Strange how potent cheap music is."
The film becomes a confused pantomime of fear and disaffection, succumbing to a torpidness from which it never recovers.
Some of it hits home, raw and emotional. Other sequences (a karaoke scene, moony shots of Nanjing) thrum with a tender melancholy. Most of it, though, is boring, nonsensical and off-puttingly convinced of its own worth.
Lou, helped by Zeng Jian's striking camerawork, captures very well the mood of drift and fragmentation in modern-day urban China. Compelling and messy in equal measure, it's a cine-letter to the future.
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