Lao jing

The digitally restored version of this cinematic masterpiece, directed by Tian-Ming Wu and featuring Yujing Liang as Zhao Qiaoying alongside Yimou Zhang as Shun Wangquan, is truly a sight to behold. The period leading up to the creation of this film was particularly challenging for artists in China. Born in 1939, director Wu, like many of his contemporaries, had to wait until the conclusion of the Cultural Revolution to embark on his filmmaking career. After co-directing his debut feature, Reverberations of Life (Shenghuo de chanyin, 1979), with Teng Wenji, he was appointed as the deputy director of the Xi'an Film Studio and subsequently promoted to its head. At the age of 45, he became the youngest individual to hold such a position in China at that time.

The Old Well emerged as Wu's most acclaimed film, securing the Grand Prize at the Tokyo International Film Festival and potentially setting the stage for international recognition. However, as historical accounts may take time to clarify, during Wu's travels in North America, the Tiananmen Square crackdown of June 4, 1989 occurred, leading to circumstances that rendered his return to China impossible due to either his statements or a misleading report. He subsequently settled in the Chinese community of Monterey Park in Los Angeles, where he opened a modest video store with his nephew. Although Wu eventually returned to China and directed a few more films, he was not reinstated at the Xi'an Film Studio.

The Old Well does not present a singular hero or a victimized character opposing an oppressive system. Instead, it is a multi-faceted narrative where elements such as nature, collective greed, desire, apathy, gossip, bureaucratic trivialities, and the individual ambitions of each character contribute to the story, akin to various instruments in an orchestra.

The title "Old Well" refers to a village in the Taihang Mountains located in the arid northeastern Loess Plateau, which has been devoid of water for generations. Numerous wells have been excavated, yet all have remained dry. The narrative commences with Sun Wangquan (Zhang Yimou) returning home after completing his engineering studies, symbolizing hope for the villagers. He harbors feelings for another educated youth, Zhao Qiaoying (Liang Yujin), but his family has made arrangements for him: a widow that comes from a rich family!

That's enough... the story gts more complicated... many things were happening on few levels and all I can say is: watch it... it's amazing! Almost everything was done close to perfection.

After his stunning photography work in "Yellow Earth" Zhang Yimou shows he can work in enclosed spaces just as well as open fields. Also, this film shows Zhang Yimou in his first acting role.

This film fits in well with first runs of the 5th generation directors, and is dire need of a good transfer to dvd. In a large part, this film is very much in tune with propaganda films coming out of cCina at the time, but this story of lost love found and sacrifice for the community maps well to international filmgoers.

After "Yellow Earth" capital began to flow at an increased rate into the Chinese film industry, and this piece is one that should not be forgotten. Sandwiched between two great films photographed by Zhang Yimou, "Yellow Earth" and "Red Sorghum", any fan of his work will not be left disappointed.

Wu Tianming ,Zhang Yimou's mentor, was head of the Xi'an Film Studio at the time as well as a brilliant director in his own right. Zhang Yimou was one of the films two credited cinematographers. His sharp eye, as well as his chiseled cheekbones, are very much in evidence, but so are Wu Tianming's intelligence, heart and soul. In the late 1980s, he played a crucial role in encouraging and supporting the young "Fifth Generation" directors and helping to assure that their films were shown at as many international film festivals as possible; the more worldwide exposure they had, the harder it would be for the authorities to censor or punish them without causing a worldwide incident. After the Tiananmen massacre, he left China for Los Angeles, but returned from exile when the political situation permitted. His deeply moving last films, KING OF MASKS and THE SONG OF THE PHOENIX, are surely among the greatest works of the Chinese cinema.