Liu lian piao piao

This film is no Pretty Woman. It is realistic and almost has the feel of a documentary. The dialogue is entirely everyday life. Several scenes involving the Durian are extremely hilarious. There is no semblance of glamour to this film.

I would describe Durian Durian as a tale of two halves, with the first one being great while the second one is disorienting and confusing. The first half is about one universal truth: the hardship of immigration for young women. We get a peak into Qin's life as a prostitute. It's not pretty. It's harsh and ugly, but even though we don't know her exact motivations, we root for her, we want to know more about her, and we wish her well.

In the second half, however, we get to see Qin as more than an immigrant and a prostitute. We get to know about her desires and motivations, her family and friends, and her as a subject and not an object. However, something is missing during the second half. It feels lifeless, monotonous, and irrelevant as if the life Qin had when living in Hong Kong was sucked out of her.

My introduction to Fruit Chan's work is not a pleasant one. I would be more than happy to revisit his work in the future, but as of right now, I can say that at least this film wasn't my cup of tea.

I thought Durian Durian was an exceptionally charming film. I believe that in this film Fruit Chan has done what lots of movies fail to do, which is to take on a stereotype character, deal with it and then present its flip side in such a humanising and tender way.

The film is largely about a Chinese call girl in HK, and her exploits are seen through the eyes of a little girl living in the back lanes where the call girl works. while this makes for a half-decent premise, Chan takes the film on an arc midway, just as one begins to settle into the setting and characters, and the film begins to explore a richer, subtler and charming side to this girl's life.

The film starts off feeling very urban - the camera is often hand-held, its movements rapid and its compositions documentary like and voyeuristic. however, as the characters unfold and become more and more well-rounded, so too does Chan's visual style. the cinema verity feel is replaced with a measured, elegant style. stillness and lush winter photography dominate, and by the time the picture ends, one has the feeling of being transported to an entirely different place, seeing before one, an entirely different character.

I enjoyed this film, very, very much. the manner in which it handled the character of the sympathetic prostitute reminds me very much of Jean-luc Godard's treatment of Nana Kleinfrankenheim in Vivre Sa Vie - it was measured, not sappy, in some ways magical, in other ways thoroughly real.

Trust me. this is a good, good film.

There are two aspects to this movie. First, for a westie, it was an interesting look at Hong Kong and "small town" China. Second, it's an interesting story.

There are two main characters, but the movie essentially revolves around a twenty-something woman. In the first part she is a prostitute in Hong Kong and in the second half we get to know a bit more of her. A young girl living in the same street in Hong Kong has a small, but important role in the whole.

Hong Kong is portrayed as bright, vivid, hot and dirty, but cold and harsh emotionally. The more rural part of China (altho I'm guessing it's a metropolis population-wise) is bleak, cold, snowy, but warm on emotional level.

The story itself is a bit difficult to follow as it's shot very documentary style, especially the HK episode. I found myself thinking "who was that again and what's he/she doing there" for a couple of times, but more into the movie I found the plot itself somewhat irrelevant. You're so drawn into the flow of this visual poem that you don't really care if something doesn't make any sense. And it sometimes really does not make any sense.

The movie should propably be seen twice to get most out of it, as I would definitely watch it differently the second round, maybe concentrating a bit more on the contrasts and metaphors rather than trying to watch it as a pure narrative.

As nice as the photography is, there are a couple of scenes where the camera get's a bit too obvious and this breaks the flow quite awkwardly. I was also a bit surprised that durian wasn't known to most of the characters, having travelled in China and Asia a couple of times I got the impression it's very popular.

All in all, it's very interesting movie. Could be seen as a humane story or a documentary style peek into life in modern China. Recommended if you look for something else in movies than mind numbing entertainment.

Fruit Chan is a lovely man living in a lovely world of connections that he sometimes shows us. Some of his other films have touched me with their elaborate order over things that while strange seem to reveal nature.

He works by evoking smell and taste into the images. This film does that as well as any of the others I know. But its intensity is likely to elude you — as it did me — until you learn about this durian fruit. It is so powerful in its smell, and so repulsive, that it is often banned from public places. It is chemically similar to skunk, hard to open and physically ugly, yet there are people who love it.

This durian phenomenon is primarily a geographic thing; the film is about alien visits, people where they do not belong. There is lots of coming and going, performing of different kinds, families of different kinds, and cleanliness of different types. Durian come and go... not many of them, but then there are not many of anything here: its all about the layers.

This man is a wonderful artist. I will see everything of his that I can, and expect to be reporting pleasure that I can taste.

Ted's Evaluation -- 3 of 3: Worth watching.