Balzac et la petite tailleuse chinoise

Don't be mislead into thinking that a film about the Chinese Cultural Revolution has to be heavy. This one is delightfully light, at times quite funny, but not trivial.

Describing one film review in Hong Kong serves well to describe the film itself. The critic used 90% of the review to say how the film is unrealistic, somewhat over-literary, a bit over-romantic, etc. In the last paragraph, however, despite everything that he said before, he gave the film top rating simply because it was so beautifully made.

The three young people are such a joy to watch. The message I get (which may not be the one intended by the director) is that no matter under what circumstances, youthfulness will prevail. For those who follow the international movie scene, Zhou Xun and Liu Ye wouldn't be total strangers. Chen Kun, the third of the trio, put up an equally sparkling performance. All the supporting roles are great too, and there are quite a few of them.

The scenery is breathtaking and the ending (which of course I won't give away) is very poetic.

It's one of the best, if not the best, "Chinese" film I've ever seen (Chinese in quotes because it's really French, and represents France in the Golden Globe, losing, narrowly I hope, to Almodovar's masterpiece Talk to Her).

In 2000, Dai Sijie's semi-autobiographical novella 'Balzac and the Little Chinese Seamstress' was released. An elegantly told story full of humour and emotion, it is set during the time of Mao's Cultural Revolution, and follows Ma Jianling and Luo Min, two young men sent to re-education at a small mountain village. One day, they discover a stash of forbidden Western literature, including works by Balzac, which profoundly impacts their lives and thinking. They also befriend a local seamstress, with whom they share their newfound knowledge, which in turn changes her outlook on life.

The novella received near universal acclaim (apart from the Chinese government, somewhat unsurprisingly) and went on to be translated in over nineteen languages. In 2002, a film adaptation was released, directed by Sijie. Often, when powerful, simple stories are adapted to other mediums, their impact and poignancy are diluted, if not lost completely. Some stories are just better suited for the page and not the cinema screen: with 'Balzac and the Little Chinese Seamstress,' this is not the case.

Sijie's story translates beautifully to film. His narrative is compelling, with plenty of humour, despite its emotional resonance and dramatic depth. As in the book, the film shows how education and literature empower, especially within the confines of a society such as that under Mao. The film can be seen as a cutting diatribe against censorship and the small-mindedness of those who fear knowledge, free speech and education.

It is also a story about friendship, and how shared experiences forge deep, enduring bonds. The relationship between the two young men and the seamstress evolves through their mutual appreciation of literature, becoming a testament to the human spirit's resilience and the transformative power of art. Moreover, the film delves into the concepts of personal growth and self-discovery, as- through the forbidden books- the characters embark on a journey of intellectual and emotional awakening.

This journey is mirrored through Jean-Marie Dreujou's evocative cinematography and the picturesque, yet harsh, setting of the mountain village. Much like Thomas Mauch, Dreujou captures what Werner Herzog refers to as "the drama of the landscape" astutely, portraying the environment as both beautiful and foreboding. Dreujou highlights the contrast between the idyllic landscape and the oppressive political regime, emphasizing the tension between freedom and control, adding another layer of depth to the narrative. This visual dichotomy enhances the story's themes, illustrating the characters' internal and external struggles.

Furthermore, Jiuping Cao's production design adds a layer of authenticity to the film. The detailed set pieces transport the audience back to the Cultural Revolution, creating a vivid and immersive experience. Additionally, Huamiao Tong's costumes reflect the era's austerity, while highlighting the characters' evolving identities.

Moreover, Pujian Wang's elegiac score enhances the emotional impact of the film. The music weaves seamlessly with the narrative, underscoring the characters' journeys and the themes of love, loss and discovery. In addition, Luc Barnier and Julia Grégory's editing ensures the film has a smooth, steady pace that keeps the audience invested throughout.

Ye Liu, as Ma, delivers an introspective performance, capturing the character's intellectual curiosity and inner struggles with aplomb, while Kun Chen, as Luo, is charismatic and dynamic. Xun Zhou, meanwhile, shines as the Little Seamstress, embodying a blend of innocence and burgeoning self-awareness. Her transformation throughout the film is well-realized, making her character's journey all the more impactful. In addition, their co-stars- particularly Shuangbao Wang as the head of the village and Zhijun Cong as the tailor- cannot be faulted.

In conclusion, Dai Sijie's 'Balzac and the Little Chinese Seamstress' is a poignant and visually stunning adaptation remaining faithful to the essence of his novella. A celebration of the power of literature and the enduring strength of friendship, it is engaging and thought-provoking. Boasting stellar visuals from Jean-Marie Dreujou, a fine score and strong performances from all in the cast, it is a fairly seamless affair. In fact, 'Balzac and the Little Chinese Seamstress' needs no alterations.

This movie is most memorable for its beautiful scenery and while the story itself is told with skill and ambition it still lacks proper pace at times. Less would have been more here.

Also it seems that as the movie nears its end the writers had a hard time thinking of a artistically pleasing ending and by doing so overdid it just a bit. The underwater scene at the end, while having a melancholic touch, did come across as rather forced for an otherwise "natural" film.

The characters are all believable, amicable, intriguing and make you all the more interested in the story, which takes place during the Chinese cultural revolution. Do not expect historic facts since this is no documentary but a tale of love found and lost. A wonderfully poetic one, too.

A highlight of independent film making. 7/10

It is impossible to understand this story in his real essence. The beautiful skin of love and nice images, the acting and slices of memory are only small details of a horrible era (Chinese Communism of Mao period is more that the best thriller can presents). So, a tale about resistance, about culture like secret and vital refuge is not only interesting or touching but good "remember", too. The life in a country who considers his citizens like social dough is a cruel experience and a survive exercise. In Romania, the Communist regime was not very different but the relates about this period, his reflexion in films is mixture of frustrations and hate. Maybe, this is the normal way after a social crisis. So, the principal virtue of film is the subtle humor. The innocence of resistance, the original game, the delicate resistance against a grotesque situation. In many aspects the film is a charming miniature and it is Sijie Dai's merit to present not only a personal experience, a story of past but a slice of far reality so present in ours life, yet. Same impressive token about a subtle form of resistance is "Flying against the arrow" by Horia- Roman Patapievici.

This Sino-French film breaks no particular new ground, is not strong on action or drama, and is unlikely to move you either to great joy, or to tears. Despite this, there is something innately satisfying about watching it, which defies casual analysis.

The story centres on two young men, Ma and Luo. Coming from "reactionary bourgeois" families in the city, they are sent by the Chinese authorities for "re-education" to a beautiful yet achingly backward and isolated community in the mountains. There they undertake menial work, live in comparative squalor, but predictably find love in the form of the same woman – known throughout the film simply as "the little seamstress".

While "Balzac…" will win few originality awards, its strength lies in execution.

Sijie Dai manages to tell his story (which is semi-autobiographical) in a straightforward way. The local party chief is ignorant and officious without ever descending into malignancy. Ma and Luo are engaging without being overtly benevolent. The "peasants" are ignorant without being stupid. As love blossoms, the emotion of the film moves from repression to longing.

There are some wonderful, poignant moments in the film too, which underscore the mood. The local party chief exclaims early in the film "revolutionary peasants will never be corrupted by filthy bourgeois chicken"; Ma and Luo are sent to the cinema with instructions to tell the story to the village on their return; the little seamstress comments wistfully that she can "see planes flying overhead, and wonder to what far cities they are going" reminding us painfully that this is the 1960s not the 1860s.

Mostly, though, the audience is reminded of the futility of repression; the insatiable thirst for knowledge and new ideas, even among the villagers who are transfixed by the basic choices to be found in a city-boy's cookbook.

The cinematography is also wonderful. Apart from the flood sequence at the end, there is nothing flashy about it (and, given the scenery, it's possible that even I could do a fair job of making the film look pretty) but it is precisely the understated nature of the cinematography that I loved.

If the film has any particular weakness, its end (at least in terms of the Phoenix Mountain segment) is abrupt and seems not to follow logically from what has gone before. This is a small criticism though.

Many films today, even the good ones, seem to force their themes upon the audience by brute force, yet upon leaving the cinema, there seems little to talk about or ruminate over. "Balzac…", at least for me, was the opposite. Its light touch has worked its way into my unguarded consciousness. It is a welcome guest, and long may it stay.