Histoire d'hommes à Pékin

I went to see "Crouching Tiger, Hidden Dragon" with a young Chinese man who said to me, as if I didn't know this, "Of course it has a tragic ending. It's Chinese!" That awakening, plus seeing the movie in a Chinese filled theatre, taught me something. I rented "Lan Yu" expecting a Chinese movie. I didn't get one. There were no intense cultural overtones, just references. Mao, Tiannimen Square, Russians, yes. The matriarch's New Year's dinner was the closest thing to Chinese culture. But, of course, Beijing and Hong Kong are cosmopolitan. The plot even makes fun of Lan Yu being thrust into the city from the country.

I put this movie in the category of "Parting Glances," "Steam," and "Love, Valor, Compassion," definitely not "Philadelphia." That's a high compliment for me. I've seen boring, "go for the audience impact" Gay movies. This isn't one, thank goodness. It's a love story with the complexity of approach/avoidance conflict, embraced by friends who are straight, even though the story is about Gay love. And it's about one-sided love, growing love, fearing the loss of love, committment anxiety, and all that, the same as in straight relationships. It has acceptance and tolerance and is totally devoid of sneers from the homophobic thrown in to thicken the plot.

The character development is a little sparse, but actually we learn about them quickly. There's no long wind up. Skillful! The character depth is what grows. Lan Yu grows. His lover doesn't, until it's too late.

The direction and photography were subtly superb. I didn't catch on until far into the film how good the photography was and placement of the characters. The acting was excellent -- or was it their direction?

How interesting that the clearly more submissive character is the stronger one.

Did those who hated this movie notice all of that, or are they jaded? I wouldn't like to be at a play or movie with them.

Wonderful movie. I cried. I laughed. I'm still feeling it. Very few movies do that to me.

It has an overall feel of an Eric Rohmer film, the portrayal of the reality of emotion and connection in the stark environment of modern Beijing and Chinese society is a feat of amazing subtlety.

Perhaps incomprehensible to people in a society long open, the stark contrast between the comfort of rare privilege and emotional squalor and the material squalor of the young student/architect and emotional richness there goes beyond the triteness the another user accuses this material of.

I am fairly jaded westerner moved to emotional resonance, (certainly not the result of the melodramatic ending I could have done without.)

I expected something tepid and tormented, like "East Palace West Palace" and instead found a wonderful drama about the China of the 80s and 90s.

A successful businessman sees, at a fancy party, a young man brought to the party by another attendee. He and a co-worker decide to pounce: they take him (Lan Yu) out and treat him royally. The young man winds up staying with the businessman, who gives him money, but is ambivalent about whether he wants to see Lan Yu again. He feels that he can have relationships and remain unattached.

Lan Yu shows up periodically over the course of years, and the businessman gives him larger and larger gifts, including a fancy house in the suburbs. But the businessman meets a woman who translates for him in a deal he's making with Russians. He decides to marry the woman. Lan Yu will not put up with it and refuses to see the businessman.

The businessman's shady deals get him into trouble, and he loses almost everything. Then Lan Yu comes back into the picture and . . . (I'll leave it there).

Besides being a wonderful melodrama, this is also a hot gay film. Full frontal and dorsal nudity, some sex. The men are hairless and sexy, but real. Lots of kissing.

And all the time you're wondering: did they actually film this in China? Do they allow this in China? How did they get away with this....It must have been filmed in Hong Kong. Well, according to the Sundance website, this was filmed in China, and based on a short story that appeared only on the Internet.

It's by far my favorite Chinese movie, and if you're interested in gay life in the new China, this is the one to see.

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.

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.