RRP: £19.99
Our Price: £6.97 (subject to change)
Editorial
Synopsis
Gong Li, star of such epics as RAISE THE RED LANTERN and JU DOU, is unforgettable as the title character in ZHOU YU'S TRAIN, the poignant story of an unusual love triangle set in the Chinese countryside. Zhou Yu is an impulsive woman who makes porcelain pottery for a living, painting each one exquisitely. After meeting shy poet Cheng Ching (Tony Leung Ka Fai), she starts visiting him, taking a two-hour train ride twice a week from Sanming to Chongyang. On that train she is pursued by Dr. Zhang (Honglei Sun), a country vet who is intrigued by both her and a porcelain vase she has made. While Cheng Ching remains tentative, unable to completely commit to her and his poetry, Zhou Yu's burgeoning friendship with Zhang threatens to turn into something more. Co-writer/coproducer/director Sun Zhou has crafted a beautifully alluring film in ZHOU YU'S TRAIN, set among the lush green countryside of China. One particularly gorgeous scene involves Zhang and Zhou Yu searching for a lake that Cheng Ching has compared to his lover. The complex story is told in non-linear fashion, with scenes from the past converging onto the present in repeated ways that shed new light on the characters and their relationships. Gong Li is outstanding in a dual role, her eyes dancing across every scene. In only his second film, Honglei Sun shows remarkable depth. Wang Yu's stunning cinematography and Shigeru Umebayashi's haunting score add yet more wonder to this softly bittersweet film.
Journey without end
Review date: 2007-11-03 Rating: 10 out of 10
Zhou Yu's Train (2002) is the follow up by director Zhou Sun to his successful 2000 film Breaking the Silence. Both star Li Gong, who is both a charismatic beautiful presence in so many films and surely one of the world's great actors.
A young woman, Zhou Yu (Li Gong), meets a poet called Chen Qing (Tony Leung) and falls in love with the man and his poetry. His passionate poetry reveals that he is in love with poetry, she with love itself. While visiting him in a distant city she meets a doctor who is able to reach parts of her nature she had not been aware of: his dour, cynical, pragmatic nature is in strong contrast to the introverted, shy poet she loves. How can Zhou Yu respond to both men while being true to herself? This is her journey, her train. The synopsis however can only trivialise the film.
Viewers who are used to narrative structure or frenetic action sequences controlling their viewing experience need to approach this film with caution. Zhou Sun seems to agree with Picasso that asking the right questions is far more important than finding the right answers. The film asks many questions, and is tactful enough to let the viewers find the answers for themselves. The director uses a structure whereby what events mean to the characters who experience them is far more important than the events themselves. The film tries to depict states of mind: films I am reminded of are Julio Medem's "Lovers of the Arctic Circle" and Ingmar Bergman's "Persona". While "Zhou Yu's Train" is not as good a film as these, the fact that the comparison can be made is high praise.
At several points in the film we are shown Zhou Yu holding a book of poems written by her lover Chen Qing . The book is called Zhou Yu's Train: the director clearly comparing his film with a collection of poems. The poems are full of emotion, very romantic and saturated with landscape (as so much Chinese poetry seems to be). The poems, the cinematography by Yu Wang and the music by Shigeru Umebayashi are all just as important in achieving the effect Zhou Sun is seeking as anything that happens on screen. The music is outstanding, able to stand on its own as Zbigniew Preisner's score for Kierlowski's Dekalog did. Yu Wang's work shows that exquisite landscape is still abundant in China. The film would not work with less outstanding actors in the principal parts.
An influence on Zhou Sun is surely Yasujiro Ozu, who used trains frequently to explore the situations his characters were in. Ozu was a master who could tell a whole story within just one frame and Zhou Sun is not yet as adept as this. But the shots of a train passing another going in the opposite direction is meant to tell us that here the characters who seem to interact are each going their own journey, with little chance of communicating. At times scenes are used metaphorically: we see the car Zhou Yu is travelling in to Tibet to visit Chen Qing spiralling into a river, and hear that a bus she is travelling on has met with an accident. These tell of wasted journeys, not literal events.
Is romance an ideal or an illusion? How far should we follow an ideal or an illusion? How real are the events that take place in our hearts compared to the events we experience everyday? Could love be the only experience we have that doesn't derive from our senses? Is compromise ever worthwhile? If you've ever thought of questions like these this film will move you deeply.