Dark Matter

I started watching this film with the IMDb reviews in mind. Nothing could prepare me to what I have seen. Definitely a great director. The story is told with subtlety, depression is painted with soft strokes, one almost doesn't even know what caused it. A story of minimal events that makes a life. Strangely, and I feel sorry to say that, it is the first Chinese film I have seen that embraces foreign culture, and in such a way. The only thing that is bad in this film are the title credits and the end which is maybe too dramatic, but beautiful. Watch it. Yes, I am watching the end right now, too dramatic, and the end credits look like the start one. Great film.

I watched this with several friends and it was interesting to see who was surprised by the ending and who wasn't. Let there be no doubt, there is a great subject for a plot here. Forget that its based on a true story because its not - that's just marketing and fodder for pointless forum discussions.

What really hurt this movie were the pointless special effects and overly exaggerated sentimental shots, mostly featuring Meryl Streep, interspersed throughout the movie - typically after a scene where the protagonist experiences success or failure. There are only a handful of these shots and they only last seconds – but they are schmaltzy in an otherwise very believable movie. If you're watching even somewhat closely, they give away the movie very quickly.

I'll bet Shi-Zheng Chen goes on eventually to make a truly great movie. This one is about half way there.

For a film based on a true story, it could have been much better, much deeper, much more involving. This movie is overly simplistic, too straightforward. Everything is black or white, good or bad. Reality is never like this. A pity really, the premise is actually fascinating. The screenplay should have stuck much more to the truth, to actual events, they should have tried to portrait the characters faithfully, without trying to 'simplify' things for the viewer, to make the film more 'stylistically viable'.

Oh yes, and this is one of the few movies (if not the only one) where Merryl Streeps presence was totally unnoticeable, if not unnecessary.

Liu Xing is recruited from China to work as a graduate student under his hero Jacob Reiser (Aidan Quinn). Reiser is famous for his model of physics. Liu Xing joins a group of Chinese students who work for Reiser with little pay. They scrounge for food but Liu Xing paints a pretty picture for his hard-working parents back home. Joanna Silver (Meryl Streep) is a rich benefactor for the Chinese students. Liu Xing falls for coffee girl Jackie (Taylor Schilling) but she doesn't feel the same. He starts to push for a different model than Reiser but he's rejected. As each failure piles up, he breaks down in a volatile way.

I have two main problems with this movie. Firstly, this seems to suggest that China is a free source of third world mental labor. I don't think it works quite as well in the present day but it works better back in 1991. Second, the ending is such a different tone that it damages the movie. The movie desperately needs foreshadowing. Liu Xing needs to have a more complex personality. It's like the movie falls a cliff and there is no warning.

After a few minutes of watching this movie you realize its tempo is not the tempo of an American film, and despite the fact that it is an American product, the mind behind it is oriental. Completely. In reality one is watching an oriental film shot in the States, with a mixed cast of American and Chinese (japanese also?) actors.

Everybody is excellent in his or her role and the direction is flawless. I think I'm not the only one to have noticed immediately when envy started raising its ugly head, and from then on the outcome is quite predictable.

Even so, it's a beautiful film from beginning to end, with a particular calmness in all the scenes. The episode with the cosmetic line is quite pathetic and both actors are just sublime in it.

They say that we make all those plans for our future and destiny (or whatever you call it) comes and throws everything to the wind. The oriental way to show us that, as subtle as it is in this film, is a thousand times more effective and overwhelming than displaying the usual Hollywood fireworks.