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International (Chinese) Film Movie Review
Johnson Thomas
Impressive but not entirely captivating
Film: Ash is Purest White/ Jiang hu er nv
Cast: Zhao Tao, Liao Fan, Feng Xiaogang, Diao Yi-nan, Zheng Xu, Zhang Yibai Director: Jia Zhangke Writer: Jia Zhangke Rating: * * * ½ Runtime: 141 min.
Jia Zhangke’s latest is framed against the changing industrial landscape of a resurgent China. Set in an industrial city, we are privy to an ongoing relationship between the daughter of an industrial labourer Qiao (Tao Zhao; the Director's wife & muse) and a small-time mobster named Bin(Fan Liao). Qiao is fearless, keeps the men in their gambling den on their best behaviour and is also resourceful in a crisis. So when a fight breaks out between rival gangs she is willing to be the fall guy by using a gun to break-up the near death struggle- for which she gets 5 years in prison while Bin escapes with just 1 year of incarceration. After Qiao emerges from her 5 year sentence, she expected Bin to be waiting at the gates but he is nowhere to be found. She eventually seeks him out and finds that Bin no longer feels anything for her. He has moved on with another affair. Qiao is resilient enough to realise she has to take care of herself despite crippling heartbreak, amidst the rising waters of a turbulent Chinese transfiguration. And soon enough Bin comes back in a wheelchair seeking Qiao’s support and she does everything in her power to help him walk again. But does she love him anymore and will she subjugate herself to be at his command? The ending speaks volumes about the character and depth of feeling that Qiao represents.
As is wont, Jia Zhangke gives us glimpses of changing Chinese society – we see western influences in the pop culture and dance forms patronised in the clubs and by the nouveau rich. The Cantopop ballad by Sally Yeh, the theme song from John Woo’s “The Killer” combined with punctuations of pop hits like Village People’s “Y.M.C.A” and many others keep the tone upbeat and hopeful. We also get an interesting glimpse of the darker side – when Qiao tricks rich so-called family conscious men into giving her a payoff. Qiao, though hurt by Bin’s betrayal, displays her steely edge when it comes to determining a future course for herself.
The drama is never emotional, the takes are rather sterile and bleak. Eric Gautier's cinematography blends period highlights( the screenplay unfolds over a 17 year period) with character definition in startling contrasts. Qiao’s metamorphosis is juxtaposed against that of a resilient and resurgent China- both determined to make the best of the situation they are in. At no point do you become aware of the rather long runtime – such is the power of the stark, spare narrative that uses edit jumps to signify period changes and surprises enough, to keep the interest going.Zhao Tao's immersive performance lends resounding Pathos to the experience. This film is a deep, contrasting, comparitive study of character and environment that is both insightful and luminous. This may not be Jia Zhangke’s best work but it certainly lends credibility to his standing as an auteur.
Johnsont307@gmail.com
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