Histoire d'hommes à Pékin

I found this particular film very moving. Regardless of the the way the two characters meet for the first time it is about relationship, not sex. (despite Handong, struggling to perceive it the other way around). Nice and subtle, seem bereft of any cheap cinema tricks. I guess that goes back to the Asian culture towards homosexuality and is the reason why I prefer Asian gay-themed movies to European or north American main stream production. I wish there was more of this kind of movies portraying man to man relationship as based on feelings rather than sex. Stanley Kwan joins Ang Lee in leading the way... In my opinion, along 'Farewell My Concubine' the best gay-themed Chinese movie.

I cried while watching it, and I don't know if I was crying about my life or the movie. "Rainbow Shy and Afraid to be on Camera" kept feeling like it was a bad ending, and near the end thought it was a happy ending, but it almost can be seen as a good ending. The square was mentioned over and over again and I kept wondering if it was really just a romance movie.

Generally I'm not a big fan of melodrama, and LAN YU is a classic, Sirk-league piece of melodrama, so I can't say I loved this film. But it is impressive in a number of ways - the depiction of intimacy, and of a slowly-developing relationship is very well done, and this film is very obviously the work of a thoughtful and talented filmmaker. I also liked the cinematography - very un-flashy, which serves the material well: a dry, slice-of-life look which stands apart from the dramatics of the plot, and definitely underscores the normality (or validity) of gay relationships, perhaps in a culture that is still coming to terms with such relationships. The dinner scenes - which are beautifully shot and staged - stand out.

It should be noted that director Stanley Kwan has a handful of other artistically notable films to his credit, with ROUGE and ACTRESS generating acclaim around the globe. Kwan claims Hollywood melodramatist Douglas Sirk and Japanese contemporary dramatist Yasujiro Ozu as major influences, and both of those influences are apparent here - the studied, careful mis-en-scene of Ozu; and a story balanced between social critique and three-hanky melodrama, in the fashion of Sirk. Kwan is also one of a small (but growing) number of out Asian filmmakers, and noting this (and his artistic influences) helps to understand the overall importance of this film.

If some of the most creative and engaging gay film being made today is coming from Asia, Europe and Latin America - which I believe to be true - then this film is definitely among the best of that wave. Worth a look.

I really wanted to like this movie. The actors are good looking, honest and real, and the very fact that it is a Chinese film is intriguing. However well intentioned this film was, I believe that it fell quite short of its mark.

The story is of two guys who have a relationship; there is not much new here. Although there are some wonderful uses of interesting camera angles and a decided lack of score, Lan Yu was not able to unify these elements into an effective picture.

Don't get me wrong, however, the film was quite interesting. But when I left I felt cheated; the ending is a huge disappointment, and the entire intermittent narrative voice is really unnecessary. Although well intentioned, this film gyrates between excess sentimentality (Chinese film style,) and touching humor; although some movies can pull these two strains together, this one could not.

Whereas other reviewers have stated a great emotional complexity, I caught no such vibe from either of the main characters. Unfortunately, I really did not care that much about either of them, and was unable to believe that their love was as great as they both proclaimed at various times. Although sweet, this movie was really just fluff lite.

Basically, this is the story about a well-to-do Beijing businessman with questionable business principles who enjoys the company of young male students whom he treats as his play thing and pays them for their sexual participation.

Lan Yu a somewhat shy architectural student attending a University in Beijing is enticed into the businessman's home where he is subsequently seduced.

In the ensuing months the relationship deepens and they become lovers meeting at every opportunity. The emotions are subtly portrayed by the two actors. We hang on every word spoken and get caught up in their feelings. "We must never become too close", says the businessman. "It is right and proper for a man to have a wife and children". Such are his thoughts....

Secretive though their relationship may be, it is never sordid. They feel so relaxed in each other's company. The tiny rooms and narrow passageways are almost claustrophobic. Note the device of photographing reflections in mirrors so often throughout the film. An interesting technique which is constantly repeated. In a mirror you see a person lying in bed. Beyond the camera you hear a door closing. You know that some one has left the room, though you do not see it. And note the frequent use of close-ups so important in emotional scenes. A hug, a kiss, a sob, a tear....so meaningful...and each emotion tugs at your heart.

Shakespeare said "Parting is such sweet sorrow". Here we have such sorrow, but then the joy of re-uniting, followed alas! by a new tragedy that parts them once more.

The final scene when the businessman stops his car at the building site and then speeds on ever so quickly with the concrete pillars flashing by is a fitting ending in itself. I think the song detracts from the mood and would be better omitted.