San qiang pai an jing qi

'A WOMAN, A GUN AND A NOODLE SHOP': Three and a Half Stars (Out of Five)

Chinese remake of the Coen brothers first film 'BLOOD SIMPLE', this one is set in 19th century China as opposed to 1980's Texas. The film is directed by Yimou Zhang (who directed such popular and critical acclaimed films as 'HOUSE OF FLYING DAGGERS', 'HERO' and 'CURSE OF THE GOLDEN FLOWER') and it's quite a departure from his older work. Zhang says 'BLOOD SIMPLE' is one of his favorite films and claims the Coens wrote to him after seeing his version and expressed how much they loved it. It's written by Jianquan Shi and Jing Shang and stars Ni Yan, Honglei Sun, Xiao Shen-Yang and Dahong Ni.

The original Chinese title of the film is 'A SIMPLE NOODLE STORY', it was changed to 'A WOMAN, A GUN AND A NOODLE SHOP' for it's international release. It's set in a small desert town where a man named Wang (Ni) runs a successful noodle shop. He purchased his young beautiful wife (Yan) several years earlier and beats her every night. His wife is having an affair with a servant at the noodle shop named Li (Shen-Yang) and when Wang finds out about the affair things get ugly. Wang enlists the help of a local police detective (Sun) to help him carry out a plan of revenge. Things of course become complicated and bloody.

The film is an odd mix of dark action thriller and screwball comedy. The slapstick jokes aren't exactly my taste in humor but the action scenes are cool and the suspense is intense. It does drag on a little here and there but for the most part the action / crime drama aspect of the film is effective. It's also often visually stunning with plenty of beautiful scenery and elaborate effects. It's not nearly as epic and breathtaking as Zhang's other films but I think it's a nice surprise change for him. By no means is it great or as classic as the original, of course, but it's still a remake worth checking out.

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I saw this film as a love song to the Coen brothers for their wry comedy _oeuvre_. Much like you can see _O Brother_ as a love song to country/bluegrass music; the Coens clearly are highly sophisticated musically, and can work their magic around this framework into a superb film.

Note that it is _not_ a remake; _Blood Simple_ is hardly a comedy by any measure. It was just a starting point for Yang to hang his comedy on. And what a comedy it is! Elements of traditional Chinese film comedy: the slapstick, including the bumpkin assistant Zhao with the buck teeth; the hapless Li who finally finds his gumption; the remarkable acrobatics shots with the noodle preparation; the spunky little ingénue.

The whole extended mime sequence near the end is pure Coen. The characters are gently satirized via their idiosyncratic behavior in the face of incongruous events (think Jeff Bridges in _Lebowski_.) Zhang shows us the universality of this kind of humor, born of Keaton in the silent era.

Highly recommended!

I watched this in Berlin at the Festival there and unfortunately I was sitting near an older couple who were commenting on the movie. You read this right, they were old and commenting on what happened on screen in a despicable way. Their view of the film is also the view some others have (see the rating for that), still it was a bit annoying hearing them while watching.

One of the most common point that gets criticized, is that this is not worthy for a man like Yimou. I don't think it is fair to write something like that, but it's always how a viewer will watch this movie. With what expectation one goes into a movie. If you let yourself see through the comedic set pieces and the absurdity of most of them (you could call it slapstick, a movie that would be considered a master piece in another era of movie making), you can see a very human drama.

Not only that, but many human flaws that are on display here, that are hiding behind the comedy. What is not hiding though, is the phenomenal cinematography. The colors, the set pieces (designs) and the choreographed action is all in place here. There's even symbolism here, that I didn't catch (read some of the other reviews for that, the ones with a spoiler tag). A movie that you can enjoy as a silly comedy, or as a high concept drama ... or of course dismiss entirely as "silly".

A Woman, a Gun and a Noodle Shop is acclaimed director Yimou Zhank's satire of the Coen Brothers' satire of film noir, Blood Simple. Although I am not a fan of Chinese humor because of its reliance on slapstick and hyperbole, it is filmed with a visual richness that Yimou has made his signature.

Older husband abuses younger wife, who is being adulterous with a handsome, cowardly servant. Her purchasing a gun sets in motion a series of revenge activities that flesh out the Coen's title.

The magnified close-ups and slow motion sequences accompanied by dazzling colors make a satisfying visual experience if the humor is just not that humorous.

It's like this: Whether you know what goes into constructing a story because you've done so yourself or because you've just seen and/or read so many of them that the formulas are embedded in your mind, a lot of times it's tough not to look where they don't mean for you to look, the marionette wires maneuvering it, the groundwork holding it all up. When you remake a merely twenty-year-old cult classic by filmmakers with an enormous cult following, a story everybody knows, it's one thing to tell the story in a different style, or to change certain things, but anachronizing everything to an arbitrarily different time period, culture and characters, we are only really looking for all the anachronisms, waiting for them, being let down, occasionally being gratified.

The time period is never specified, but what I expected was going to lead to interesting dramatic twists on the Coens' plot was that it begins with the sale of a gun, which the cheating wife and the ridiculous slapstick moron noodle-makers find foreign and unheard-of. The gun is apparently a pretty new invention. But Yimou, who normally cares profoundly about his characters, loses his passionate emotional dominion over his actors. He dries out the original's sultriness, trades humid night for arid day, and strains for slapstick. That would be perfectly fine if he traded those elements in for something just as or hopefully more effective, but he does not.

The Coens' original Gothic film noir, fanged and toxic like snake venom, dwindles here to the point of amateur slapstick. Though the exterior shots make almost psychedelically atmospheric use of red and orange sandstone, day for night, sunrise and sunset, the characters are never more than ugly, overwrought cartoons. I'll admit that Blood Simple was not the quintessence of character arc. Nobody really seemed to change in that film, despite having a wryly farcical lack of conception as to what's happening. So at the outset of A Woman, a Gun and a Noodle Shop, when the adulterous lover, originally played by John Getz, is a redefining coward, I was pleased, because, knowing what this character must later do, I felt I was in for a true character transformation. To describe the outcome without spoilers: No such luck.

Aside from its inevitable comparison---one of the reasons, in hindsight, it's fated to be a letdown---Noodle Shop is simultaneously frantic and dull, with no hint of the restraint or meticulous concern with form exhibited in Yimou's own earlier blockbusters. Like Hero, House of Flying Daggers and Curse of the Golden Flower, and even as early as Ju Dou, the stars of the show are ultimately Zhao Xiaoding's mostly gorgeous cinematography, Tao Jing's evocative sound design and Yimou's choice of otherworldly locations. But all its visual brightness and tonal goofiness are far from either the literal or conceptual darkness of the fundamental story. Most damning is that the effort to recreate the remarkable final shot of Blood Simple is so tacky and clumsy that I reflexively sighed in revulsion. Zhang needs to reconnect with the fierce, principled, humanistic sensibility that made him one of China's finest film artists.

So the result of this uneasy mix of ironic screwball affectation, particularly evident in the big comic close-ups, and Zhang's majestic but mostly show-offy imagery is triteness, artifice, unevenness, and pretension so immoderate and pointless as to have defiantly stylish interest. If the cast were comprised of John Waters, Elvira, Pee-Wee Herman and RuPaul, it would be less kitschy.