Blind Shaft

Mesmerizing and stark. Yang Li's documentary background is reflected in the ultra realistic look and feel of the film. Powerful and no b.s. It reminded me of the best of U.S. films from the 1970's. One particular sequence recalled The Last Detail but with higher stakes. This should be an influential film, however, it probably won't get the exposure it deserves.

This powerful film just took top honors at the Tribeca Film Festival, winning in the category of best narrative feature. All the competitors were first-time feature directors, so don't expect Bertollucci here, but this is a view of working-class Chinese characters that will grip you from start to finish.

Thankfully, the programmers at this festival are daring enough to support this film in spite of the Chinese government's ban on it. Let's hope it finds

distribution soon.

Why do we love movie gangsters? What is it about the good-badman that

draws us in to Cagney at his selfish best, or a zillion noir protagonists? All of that is here, and more in the writing, and the low-key acting never threatens to spoil the bleak mood, either. This is DETOUR, PATHS OF GLORY, SWEET

SIXTEEN (Ken Loach's latest) territory. The scene where the two miners sing

karaoke, wasted with two sex workers in a cheap brothel is enough to make a

government blacklist and everyone's else's must-see list at the same time.

These men have spent their lives being exploited by crooked mine owners and

are fighting back in a crude and _extremely_ callous way, and the reserve with which the scene plays out conveys so much more than even the best socialist

realism of Sayles' MATEWAN ever did. (A great film in its' own right, don't get me wrong. But the situations for coal miners depicted in BLIND SHAFT are all

the more sobering since it is contemporary.)

Don't sweat the ending of a tale like this. First-time directors should always get a pass on wrapping a film up. If they get the characters across convincingly (and here they do) then what comes in the last reel hardly matters. Gangsters back in the day knew enough to leave a theater before the moral was delivered. The real message is in the body of a film, where the mirror is held up to real life.

Song and Tang are two conmen who make their money through murder and deception. They live among the unemployed drifters of China, latch onto lonely young men, convince them to pretend to be one of their relatives and then the three get a job together in a mine. After a few days, Song and Tang kill their companion and make it look like a cave in - extorting the bosses for compensation in return for silence. They have been doing this for a while to good profit and plan to continue when they pick up the sixteen year old Yuan, creating a moral crisis for Song.

I was not sure what this film was about when I sat to watch it but the fact that it had been made as an underground film (literally) without the permission of the Government and that was enough reason for me to give it a bit of my time. As one would expect from such a film, the plot is a mix of narrative and comment. The comment is delivered in the form of us seeing the working conditions and the poverty `enjoyed' by the citizens who are outside of what we would consider the `proper' economic system. In this regard the film is interesting if not totally gripping. The narrative is just as gripping but it is less satisfying as it seems to be secondary to the other aspects of the film. The characters do just enough to carry the story along, in fact they win over the audience well enough for us to care about all the main players - essential in a film that is driven more by them than by action.

To that end, the cast (a mix of professionals and non-professionals) deliver the goods pretty well. Yuan's innocence and dedication to the characters is key to the film and Wang carries this off well. The elder Wang is also good but has a simpler character to deliver - however it is to his credit that his `bad' guy never lost my interest. Li is the best thing in the film even if he goes through an fairly recognisable crisis of confidence. Yang Li's documentary background shows through with the realistic direction and the great use of locations - all the more impressive as many of them must have been difficult to shoot in.

However, the lack of events means that the narrative is a little less than satisfying when it comes to the end. We more or less know where it is going and the film uses the ending as much as a closure to the narrative as it is a further comment of the people's place within the system. Despite this it is still worth seeing even if it may not match the hype that the awards and reviews on this page would have you believe. Overall a good film that is worthy with good direction and acting even if the commentary of society and narrative don't sit as well together as one would hope.

The film explores the human nature with all possible situations that might arise in life nicely. The story revolves around two people who used to work in a mine and fake the dead person as their relative in order to take money from the mine owner. Things got changed when one of them had a change of heart. It might look normal to see this type of story but the way they acted and portrayed the characters and the representation that they do not care anything about morality but in their heart they wanted to do the right thing, is worth watching.

Pros:

The story moved forward at a good pace to its climax and was interesting. The actors acted properly. What I liked most was the different angle of the film with respect to the story. Without entering into much detail of mines, they just showed us what was really necessary.

CONS: Nothing.

Message: "No matter what you do there is always a good person in you."

VERDICT: "A recommended watch."

Jinming and Zhaoyang travel around illegal mines with marginalised, friendless individuals, people who won't be missed, killing them underground and faking a mine collapse, so they can collect the compensation. The scam works well till their youngest ever recruit, fresh-faced Yuan, starts to grow on his 'uncle' Jinming, leading Zgaoyang to make a fateful decision.

Yang Li fashions a gritty, realistic tale from naturalistic performance and uncompromising locations. Life in the mines seems so severe, so sapping, that there is a tinge of release around the untimely deaths of the victims. The camaraderie and ephemeral nature of life as an itinerant worker is shown in all its banal and brutal detail. Families exist at the end of a phone line. The banter crackles with humour. Women are bought and paid for. Drink, cigarettes and gambling fill out the days. Bosses are amoral misanthropes.

This picture certainly jars with the 'new China' currently feted in Sunday glossies and in-flight magazines. Strong plot, and with a social conscience, this is an interesting fusion of social realism and plot-driven film-making. Highly recommended.