Poussières dans le vent

One of the earliest pleasures of silent cinema was the "phantom ride," where the audience floated along railway tracks, watching the world roll by. Hou begins Dust in the Wind with just such a journey, his camera gliding through a lush green valley. It's a gesture of trust, or perhaps a quiet bargain: this ride is buying our patience for a story about ordinary, cloud-capped lives. That kind of story is a hard sell without Ozu-level virtuosity (which, thankfully, Hou possesses). His characters, though, are grittier, more sweary, and less genteel than Ozu-san's.

We are ushered into this world, generally speaking, by the high hopes of our parents: hopes for their children to do well at school, to be happy, to succeed, to be extraordinary, and to find love. We mostly disappoint them. Our fates are, more often than not, to be "dust in the wind," as per the movie's title. Yet whatever happens, I'd like to think we retain some memory of hope's flavour, and of the occasional oasis-under-the-stars moment.

Wan is often seen studying, his head buried in books that promise a way out. But no matter how hard he stares, they fail to illuminate him. The path they suggest feels like a dead end. And love, too-what we hoped might rescue or complete us-can become the very dust that hides the rose, to borrow from Clyde Otis and Dinah Washington. The film does give us those brief moments of light, though, such as when friends gather to drink beer and say goodbye to one of their own, drafted into the military.

The story follows Wan and Huen, who grow up in a depressed mining town in the coastal hills. Unbelievably, this is Juifen, the same town that later became a photo-op deluxe for the Instagram set, thanks in part to Hou's City of Sadness. Wan and Huen are two halves of a Platonic whole, bonded from early childhood, and they stabilize one another as they navigate the trials of early adulthood, trying to build lives in Taipei. Love simply means being soothed by the other's presence. Wan and Huen, seated on opposite sides of the barred windows of a tailor's shop, move us not through grand gestures or declarations, but through their quiet, orbital return to each other.

At the end of the film, Wan's grandfather, in a symptom of dementia, repeats three times that sweet potatoes are harder to cultivate than ginseng. We know that quality of life has improved with each generation, but a kind of metronomic falling short of expectations persists. The repetition of the phrase captures this: the effort to grow something meaningful, and the recurring disappointment in the yield.

In this way, the film also refers to Taiwan itself-famously shaped like a sweet potato-struggling through the growing pains of Japanese occupation, followed by the heart-rending separation of destinies from the mainland.

Dust in the Wind can be bitter, but it never strays from relatability. Like the characters in the film, most people who track this down are looking, quietly and patiently, for solace in the cinema.

"Another wow factor, for those we are interested in the checkered history of Taiwan, is that Hou and his scribes diligently interleave all the minutiae into its trickling plot, almost every seemingly commonplace conversation has a succinct exposition that appertains to the past or present matters: a valediction with Wan's boss reveals his horrific backstory during the wartime as a soldier; the father-son chitchat the night before Wan's draft underlines the divergence between a father's hope for his children and the unfortunate reality; during Wan's military service in Kinmen county, when a fisherman's family from mainland China is marooned on the island, the two parties respective attitudes strikingly intimate their different political slants."

read my full review on my blog: cinema omnivore, thanks

Dust In The Wind is a 1986 Taiwanese art house drama about two adolescents who decide that they do not want to stay in their home village in order to go to junior high school and instead they make the decision to get a train to Taipei in order to look for work.

And that is basically what the film is about.

For an hour and fifty two minutes the viewer is treated to scene after scene of boring and pointless dialogue and different characters lighting up and smoking a cigarette.

The only reason I can recommend watching this film is if you are suffering from a lack of sleep as this boring film will have you drifting off to the land of nod in no time.

I love Asian movies quite a lot and for some reason "Dust in the Wind" (aka "Liàn liàn fengchén") from 1986 had managed to elude me all the way up to 2019. When I was given the chance to sit down and watch this movie, I of course jumped at the chance.

Turns out that this Taiwanese movie was a major slow paced and prolonged movie with zero appeal to me. Still, I managed to sit through almost 72 minutes of the entire 109 minutes the movie runs for. I kept watching with the hope that the movie would pick up pace and that the storyline and/or characters would eventually start to have any appeal.

It just never happened...

The storyline in "Dust in the Wind" was simplistic to the point where it lost all of its appeal. It is about young people leaving their provincial home villages behind and head to industrious Tai Pei to work. And then there was some adolescence elements thrown into the formula as well. But it just wasn't enough to make a watchable, enjoyable or entertaining movie. I must admit that I have no idea what writers T'ien-wen Chu and Nien-Jen Wu were trying to accomplish with "Dust in the Wind".

The characters in the movie were essentially as pointless as the storyline. They had no personalities and milled about like battery-operated drones with poor interactions and equally poor dialogue randomly thrown about.

If you have problems falling asleep one evening and have "Dust in the Wind" within arms reach, put it on, because you might overcome your sleep problem and be soundly asleep within a short while. This was a massive swing and a miss of a movie. And I have zero interest in returning to watch the rest of the movie, because I imagine it is going to be every bit as pointless and trivial as the 72 minutes of prolonged torture I already watched was.

Hsaio-hsien Hou based this quietly effective Taiwanese Bildungrsoman on co-scripter Nien-Jen Wu's own experiences. The film is heavily influenced on the one side from Japanese masters like Ozu (though Hou denies this) and from the Italian Neo-Realists whose films inspired Wu. It's the old story of the younger generation ('60s kids from a mining town) leaving the country to try their luck in the big city. A shy, but devoted couple seem to be making a go of it, but life, jobs, family and even military service take a toll on the relationship. It's well observed, especially in the rural sections, and charmingly acted, but the natural flow of events doesn't really stick with you. Hou has trouble balancing the plot strands and particularizing the relationships, asking for a response out of proportion to what we've seen. No doubt this is not a problem for Taiwanese audiences, but then Ozu & De Sica managed the trick, didn't they.