Shanghai Dreams

Qing Hong gives a great historic insight in the Chinese life in the 70's. Unlike films like 'Das Leben der Anderen' and 'Hotel Rwanda' Wang achieves this with a good story. Even though the films mentioned above are realistic, Wang tells the story from the everyday live perspective and I feel it makes it easier for the audience to connect with it. I also think the film isn't made too dramatic like 'Hotel Rwanda' and 'Das Leben der Anderen' tend to be. Of course it is dramatic, but it isn't like you're watching pure fiction. This film had a thorough impact on me, considering the fact that I'm writing this comment a year after I've seen it. I just saw Beijing Bicycle, which is supposed to be better than Qing Hong (I read a review somewhere), and it made me think of Qing Hong, since they're both films directed by Wang. To make a long story short: great film with an interesting historic touch to it.

8/10

The reviews calling this film boring and unrealistic show the grip Hollywood has on cinema audiences. One of the best features about non Hollywood cinema, particularly Asian cinema, is a fearless adherence to telling a story without a fairytale ending or some heartwarming relief. Shanghai Dreams explores a number of themes, such as adolescent rebellion, sexual liberation in 80s China and parental wishes and techniques. It's an epic and absorbing tale told using realistic and often bleak cinematography, in a hilly Chinese inland countryside that seems to be forever beset by fogs and rain. Although the near 2 hour length means it is exhaustingly bleak and leaves one emotionally drained by the end.

the story takes place in inland china in the 70's. it shows the life of a middle class family relocated to the inland factory by the communist party. these people who were originally from shanghai, consider life in the mountainous town to be futureless for themselves and their children. the father in particular takes out some of his frustration on his daughter, who is just blooming and is in love with a young man.

this movie works on several levels. it shows the conflict between the parents and the young woman, it shows the secret life of her social age, it discuss's the cultural revolution (the kids dance to western music) happening in china about that time as contrasted to the staid and solid existence of a factory worker. the movie does critique the communist government, but in an elliptical manner, since i guess it does have to pass the censors in china. but i think that works to it's credit.

this movie shows a complete and very accurate view of china in this time period. the houses, the kitchen, the school, the way they dress and their aspirations, the attitude of the parents and the children, it is all spot on. my only negative would be that the storyline for the young girl is somewhat overly dramatic. it is as if the director started by focusing on her and then shifts to a more general broad view of life. i especially enjoyed the acting of the father and overall i thought it was very realistic and well shot.

i highly recommend this movie.

Qing Hong, 青紅 is a film that captures this strong innocence and sadness that is rarely seen in modern films these days. When I first watched the film I thought the father (played by AnLian Yao, 姚安濂) was a bastard. But on the second viewing, and knowing the course of events, I understand more of why he is the way he is. AnLian Yao's performance was also striking and effective. YuanYuan Gao 高圓圓 portrays Qing Hong seemingly effortlessly and with a melancholy that is heart wrenching. She has this beauty that isn't forced and shines on screen.

I liked how the rich historical backdrop of the movie played second to the emotional lives of the characters involved. Though the times may be different now, the characters still speak clearly to me the same pain and hope that exists today.

This film was truly enjoyable to watch.

The conflict between authoritarian fathers, expecting respect, and their children is a common theme of contemporary Chinese movies; so are the political changes of the recent past (although don't expect to see a film about the Tiannanmen Square massacre). 'Shanghai Dreams' fits this pattern, and there are some highly effective scenes in it: one, a showdown in a factory, with the sound of the machines providing a hideous underscore to the threat of violence; another, where an attempted escape is followed entirely from within the back of a vehicle. But I'm not quite sure it deserved its Cannes prize; Goa Yuanyuan appears a little too old for her character, some of the dialogue is a little expository (at least in translation), and the sense of claustrophobia supposedly felt by its characters (exiles from Shanghai, stuck in a remote industrial town) is not entirely conveyed: I didn't feel that I was pining for Shanghai when watching this movie, and perhaps I should have done. And I didn't quite know what to make of the ending, which though shocking, has a slightly incidental feeling to it. This does not make this a bad movie; but I've seen other films (for example, 'The World'), which have offered more original insights into the fast-changing face of modern China