Suzhou River (film)

  • Jia Hongsheng: Mardar
  • Zhou Xun: Moudan / Meimei
  • Hua Zhongkai: Lao B.

Suzhou River is a film by Lou Ye from the year 2000 on a tragic love story set in Shanghai.

The second film of the scriptwriter and director Lou Ye plays in the deserts industrial and social landscapes in the outskirts of Shanghai. The polluted Suzhou River is one of the central motifs of the film.

Action

The film is told from the perspective of a man who almost constantly has his video camera with him and filmed. But he himself never occurs in appearance. This recalls the story of him against extended and partially the film is presented with his recordings.

The story tells of the Mardar reflected as a motorcycle courier and a gang member petty criminals through life. One of his customers as a courier is the father of Moudan, a businessman of Mardar paid, so he is driving his daughter. Mardar and Moudan make friends and love in the offing, but kidnapped as Mardar on behalf of his gang Moudan to ransom, she tries then disappointed to commit suicide by jumping from a bridge into the Suzhou. But her body is not found and therefore Mardar says later in Meimei, the girlfriend of the narrator, his Moudan recognition. However, meimei Moudan denied to be what Mardar does not prevent them to visit regularly and tell her the story of Mardar and Moudan from which also shows Meimei fascinated. The film concludes that the narrator and Meimei, because you have found her address, are called to an accident scene, are an accident at the Mardar and the true Moudan, shortly after the two got together again.

Style

As he builds his story on chance encounters and life paths intertwined, Lou takes visible bonds of Wong Kai- Wai's Chungking Express. Conspicuous are the jumping sections and the agile hand camera work of Wang Yu. The mixture of observational realism and lush romanticism illustrates the scene in which the narrator describes the declaration of the local people for the disappearance Moudans, you see them as a mermaid, bathed in golden light, the tail fin fallen into the murky river water. The figure of the mermaid, which is not part of the Chinese tradition, is typical of the globalized spirit of many of his modern Chinese contemporaries.

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