Sheng si jie

This movie has a basic problem - a disconnect between the facts of the story it tells and the tone it takes. The man Muyu is a dastardly character, no doubt about it, but consider that he works quite hard living with the main female character, that he makes little money from his horrible swindle. He remains a struggling ex-villager who is now a worker.

Yet the tone is that the woman with intellectuals for parents has been deeply wronged, no matter how much her emotional blindness and stupid moves contribute to her fate. In one scene he tells her of his disdain for the educated and smugly observes how he, a lowly guy, has swindled her. The message of the film, and it certainly has a message, is that intellectuals should beware and dislike ordinary working folks. The character type of the latter is this womanizing, swindling guy. (Incidentally, the art-film style guarantees that intellectuals more than most folks will be the viewers of Stolen Life.)

This is a very political film, a product of the reaction to the storms of the 1960s. It is a film encouraging elitism, teaching disdain for the people in the basement.

This movie is extremely well done in a very subtle way but does get to the basic universal human truth of the love a mother has for her child forever.

It addresses the social mores that put young mothers in hopeless situations forcing them into outcomes that they never could have imagined could have happened to them at the beginning of a relationship.

This movie not only exposes the evils of the the billions of dollars spent in the world dealing in the shameful lucrative transfer of babies for adoption... but also exposes the painful scars both mother and her lost baby carry for life...in this case the lifelong effects show in a surprisingly subtle twist in the life story of one of the main characters.

Stolen Life gets a message across that needs to be told...exposed to the light of truth.

An unpleasant but real story about a deceived and desperate mother. Grey tone fills up the screen. The basement scene is very impressive. It is the fourth cooperation on Screen of Wu Jun and Zhou Xun: April Rhapsody, The Colour of Money and Comprador Family (They both worked in Palace of Desire but didn't meet in an act). They were in the same agency at that time. However, every performance of the duo never looks the same.

Wonder if "Sheng si jie" means "The Story Of A Doormat" in Chinese? A bit repetitive, to say the least, (i.e. endless variations on the cluelessness and weakness of Jan'ni) and at three hours plus definitely not my cup of green tea. C minus.

Xun Zhou is a new college student, caught up in the exciting new life in the dangerous city of Beijing. She falls for a handsome taxi driver, Jun Wu, and soon falls pregnant and desperately in love. She drops out of college without informing her parents, and they begin a desperately poor life with only their baby and their love.... or so she believes.

It's a well executed soap opera of the dangerous-stalker variety, the sort of movie you see on the cable channels intended for a women's audience. It seems to be very well done, with a very bad ending untypical of the American variety, but of course my unfamiliarity with the Chinese language may be affecting my judgment.