La caja china

The world is changing around the characters in 'Chinese Box'. The screen time focuses on the six months between the New Year 1997 and the end of the British rule in Hong Kong. It's also the time that is left for John, the principal character of the film, a freelance journalist trying to store on film and in words the transition and dying of leukemia. It is the time when not only the world is changing in an unknown direction, but also when John may or may not find the fulfilling of his great love to Vivian, a beautiful Chinese bartender with a dubious past, herself in love with a third, Chinese man.

The story is a combination between culture clash movies intertwined with love stories a la 'Shogun' with love stories in the shade of a crumbling world as in 'Casablanca'. It is to the credit of the director that despite a little too simplistic and explicit romantic intrigue he succeeds to bring to screen and combine a little of the charm of both genres in the right dosage. One may wonder where did Wayne Wang's career go lately and why he rather picked to do trashy films as 'Maid in Manhattan'.

The strength of the film and what makes it survive well the decade since its realization resides however in the rendition of the city, of its infinite colors and smells, of the crowd and the noise, of its hopes, fears and dreams in the wake of the falling under Communist rule. Jeremy Irons is perfect as he will ever be, Li Gong is an enigmatic Chinese Hepburn, and Ruben Blades and Maggie Chang fill in two memorable supporting roles and another lateral story that fits well in the mosaic. 'Chinese Box' catches both a moment to remember in history and a beautiful love story to remember as well, on the background of a world in transition to an unknown destination.

For starters, it would be fair to say that I have seen this movie at least ten times. I was never bored... In fact, the magical atmosphere of the movie makes it beautiful to watch, and makes you enjoy every minute of it, even with the story aside. The cast is excellent, and the way that the actors 'ignore' the camera really makes you believe the story. The story has many layers, all of them viewed from an aspect of a dying man, packed with emotion, all masks down. The handover of Hong Kong and a love story, with all the cultural differences and barriers, is captured from a very close range. It's done almost like a documentary and strongly effects any spectator. The characters are complete, the story also, and everything else in the movie (from the photography and the music to the actual footage of HK and its people) only makes it more powerful. A beautiful movie.

Much has already been said about the film itself. Here are some comments regarding the portrayal of Hong Kong. An early comment was saying that this film makes Hong Kong look dirty and cramped.

Well, having lived in Hong Kong (in several different areas) I have to say that what the film shows is reality. I was paying about US$1,000 per month for a small room about 10 x 15 feet in Hong Kong (Tin Hau area) in 1996. It was not even a really nice place. Hong Kong is very expensive to live in.

It is also a very dirty and polluted place compared to cities in the West. The director of the film was not making this up.

By reading this you may think I hated it there, well it rates as one of my favorite cities in the world. It has a lot of charm.

By the way, the movie isn't bad and worth a look.

I was unprepared for the wonderful experience this film affords. The metaphor is striking and acceptable. Wang catches the bittersweet essence of the changeover, both at the specific and the generic level.

Li, Irons, and Cheung are superb. The movie is a cornucopia of visual delights. In fact, it probably requires repeat viewing to fully absorb the totality of its impact.

Thank you, Mr.Wang, for a truly unusual piece of work.

sasmd2@pol.net

I don't know if Wayne Wang is into photography or painting as a hobby, but just like his last two films, SMOKE and BLUE IN THE FACE, this movie reminded me of a mosaic or a photo album. I can see how some people had problems with it, since it's not a plot-driven film, but rather one of mood and atmosphere. I was moved by the images I saw, not just of the city and the changes it went through, but also of the actors. Irons is so often celebrated for the way that he uses his voice (justly, I might add) that you forget how well he's able to act with his face, and he does a terrific job here, communicating his sadness, his will to live even as disease ravages him, his agony over his unrequited love for Gong Li, and his curiosity and attraction to Maggie Cheung.

I haven't seen much of Cheung that I remember, but I've seen a few of Li's films. Both of them are excellent, Li especially in a role that's a lot more complicated than it might first appear. You really do feel that deep down, if circumstances allowed, she'd love Irons back. Cheung's role is mostly a symbolic one, but she handles it well. Not an easy film to watch, but moving.