Sangue facile

Zhang's latest is a remake of the Coen Brothers' debut film, Blood Simple. It's a slightly more comic adaptation, set in the distant past in the beautiful Gobi (?) desert. It opens wonderfully with the beautiful colors and impeccable cinematography that have always been a trademark of Zhang Yimou. Unfortunately, when it gets into the Blood Simple plot, it becomes very mechanical. I'd say that it lacks suspense because I know the story, but I've seen Blood Simple half a dozen times and it holds up every time. Every time, the tautness of the plot works. There's just something a little bland about this adaptation. I'd still moderately recommend it for the visuals, and the vibrant opening sequence, where the titular woman (Ni Yan, who is pretty good though she can be annoying at times, too) buys the titular gun from a wacky Persian salesman.

Who would have thought that Zhang Yimou, once art house darling and for trying too hard at the martial arts genre, could be capable of pulling off an all-out, slapstick black comedy with A Woman, A Gun and A Noodle Shop? It certainly took my by surprise, and showed that he's more than willing and capable of stepping outside his comfort zone, to remake what's essentially The Coen Brother's Blood Simple, albeit set in a period Chinese era and in context as well, with the bar in an unnamed Texas town becoming a noodle shop out in a desert.

And paying homage to The Coens isn't just the only one here. Curiously, the finale sequence was very similar to how Danny Boyle decided to end Slumdog Millionaire, with an out of place song and dance sequence that became more absurd as the clip ticked by. Serving little purpose other than to get everyone lip sync, dance, spin some dough, break the 4th fall and essentially telling us that everyone had a swell time making the film, I thought this could be done without since the end was quite pitch perfect.

Beginning with an introduction to the important plot element of introducing a gun into the story, a group of Persian merchants come into Wang's (Ni Dahong) noodle shop to sell some wares, and ultimately Wang's Wife (Yan Ni) decides to buy a three-barrelled gun. Nobody knows what for, and a cannon demonstration brings forth the local police, whose chief investigator Zhang (Sun Honglei) gets engaged in an expensive scheme by Wang to finish off his adulterous wife and her lover, employee Li (Xiao Shen-Yang). But of course things never go according to plan, especially when everyone has their own agenda, and it becomes one heck of a comedic blood bath with motivations questioned, and you the audience left wondering just how everyone will get out of this mess.

Zhang Yimou once again goes for very saturated colour schemes for his films, from the rich blues of the skies to the orange-brown sands of the desert land, and this time too keeping his characters in single-toned striking colours. If anyone doubts the director in being able to helm a comedy, the opening scene itself will allay those fears, and indeed much of the physical comedy come thanks to the wonderful casting, especially that of the two bumbling shop assistants caught up in the complicated events only because they're looking toward settling their back pay.

It highlights how men become easily tempted by money, the root of all evil, when faced with bucket-loads of them, and how coincidences play a huge part in getting the characters where they end up, with each unfortunate moment ending in becoming a corpse (yes, there will be blood, and death) in a seemingly convoluted narrative that has to be seen to be believed the kind of rich writing which can pull it off. But what I enjoyed more, is how modern day devices are given the old fashioned treatment, such as the police "siren" - horse mounted and wind-generated - and a combination lock, designed with an abacus, no less!

A Woman, A Gun and A Noodle Shop may seem like a less than epic film from Zhang Yimou, but it sure is a lot of fun delivered by its outstanding casting who seem all too comfortable in dishing out black and physical humour. Recommended, just so you know that the director has the bandwidth to do a lot more than what his filmography thus far has pigeon-holed him into.

'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!

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.