Buy The Story of Qiu Ju Blu-Ray
March 9th, 2010 by dione2213808
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This is a fable about saving face and winning face, and what can happen if you carry things too far. Gong Li stars as Qiu Ju, a peasant woman with child whose husband is kicked in the groin by the local chief. She wants an apology. The chief of course will not apologize since he would then lose face. Both are stubborn and obstinate. Proud and clear, Qiu Ju steers her intention through the bureaucracy from the village to the district to the city; but the thing she desires, an apology from the chief, eludes her. He cannot apologize because he has only sired daughters. He has license (he believes in his heart) because he was insulted by her husband who said he raised “only hens.”
The Chinese locales, from village roads to huge city avenues are presented with pleasing clarity so that the color and the sense of life is shimmering and compelling. Director Zhang Yimou. forces us to gawk. From the opening shot of the mass of people in the city walking toward us (out of which emerges Qiu Ju) to the feast celebrating the child’s first month of life approach the raze, we feel the humanity of the immense mass of the Chinese people.
In a sense this is a gentle satire of the bureaucratic residence that unusual China has become. But Zhang Yimou emphasizes the bounty of China and not its poverty. There is a sense of abundance with the corn drying in the eaves, the sheets of dough being gash into noodles, the plump cows on the roads and the brilliant red chili drying in the sun. There is snow on the ground and the roads are unpaved, but there is an idyllic feeling of warmth emanating from the people. One gets the belief that fairness and tolerance will prevail.
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In another sense, this is a parable about the brand of things and how that differs from what is really of value. So often is trace mentioned in the movie that I can snarl you that a yuan at the time of the movie was worth about a dollar in its buying power. (Four and a half yuan for a “pound” of chili; five yuan as a pleasing ticket for a short cab ride; twenty yuan for a accurate letter.) Getting justice in the strict sense is what Qiu Ju demands. Her affable husband would resolve for a lot less. He is the wiser of the two. Study how Qiu Ju is acutely sensitive to imprint. She bargains well and avoids most of the rip offs of the astronomical city. But what is the value of being a member of the community? This is a lesson she needs to learn, and, as the movie ends, she does.
I have to be objective. When I read the Amazon mini-review of this film, I was doubtful as to whether or not this would be my type of film. I’m not even obvious why but I impartial had a feeling. Well, all of my fears rapidly dissipated within the first fifteen minutes or so. I speedily became engrossed in this wry exiguous comedy-drama import. Lurking within the guise of a simple drama is a carefully sculpted epic of one woman’s single-minded mission to secure satisfaction and justice on behalf of her injured husband.
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Let me give you a dinky background first. The film opens with a very pregnant Qiu Ju (played by the incandescent Gong Li) pulling some sort of wagon into town. As it turns out, Qiu Ju (with the aid of her sister-in-law, Meizi) is transporting her injured husband, Qinglai to the local doctor for emergency treatment. It is eventually revealed that the husband has suffered an embarrassing injury to his “oh so private set” as a result of an argument culminating in an well-placed kick from the village chieftain. Conflict immediately arises from the fact that she sees her husband as being injured, not only physically but, emotionally and spiritually as well. Her laid-back husband, on the other hand, is not as wounded as Qiu Ju would care to absorb. He’s happier to unprejudiced fade on and let bygones be bygones. This is unsatisfactory for wife, Qiu Ju who proceeds to space into motion an almost comedic series of events ultimately leading to a conclusion that she never anticipated. On its most basic level, this film is a original day parable that explores the gray space between seeking justice and exacting revenge. It is a cautionary anecdote as well since it shows that justice is not an absolute. In fact, justice can be a somewhat intangible understanding - something that needs to be defined by the human experience. In other words, one person’s injustice can be another person’s justice. Unfortunately, Qiu Ju lives in a world of dismal and white. Her simple life and simplistic arrive to life affords her no latitude in this matter. As she gradually escalates her grievance upwardly from village, to town, to district, all the blueprint to the mammoth city, her gloomy and white world becomes increasingly grayer. Although her intentions are pure at heart, she fails to view the shortsightedness of her actions. Her myopic plan of the world ultimately leads to her downfall. What I earn challenging about this is director Zhang Yimou’s ability to stutter such a seemingly tragic narrative within the framework of a comedy. He does this by telling the epic in a most gentle fashion with the most attractive of story style.
Along the design, the viewer is rewarded with a stare into the ever-changing face of mainland China. As Qiu Ju travels from residence to state we peer the socioeconomic strata of China laid bare as if it were an archeological expedition. I immediately grasped the view that the heart of China lay in its people. China’s upright legacy is not The Titanic Wall nor the Forbidden City. Rather, it is its people and I reflect this was the intent of the director. Throughout the film, Qiu Ju seems as if she were awash in a sea of humanity. At times, it seems comforting and at others … terrifying. Nonetheless, she moves forward in her mission undeterred. I also believe that it was the intent of the director to point to the daunting bureaucratic nightmare that is the Chinese government. A draconian government that has lost examine of the very people that it is meant to support. So, in a scheme, the film is an amalgam of comedy, drama and political satire.
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The tempo of the film is deliberatly slow-paced not unlike Qiu Ju herself. I have a feeling that her brain also processes her experiences at the same exacting rate. The performances are kindly with distinguished attention given to the dialogue. We explore that although the Village Chief is in the infamous, he’s really not a poor guy. He’s stubborn, proud and furious. We witness that although the husband has been wronged, he’s not entirely innocent either and must have some responsibility for what has happened. That is, if he hadn’t said what he had said to the Village Chief … maybe none of this would’ve happened. This is what simple Qiu Ju fails to understand. People and situations cannot always be easily classified as either “apt” or “irascible”. Life is unfortunately more complex and convoluted than she would be willing to earn. As splendid as it might seem to possess steadfastly to an ideal, the greater valid sometimes arises from recognizing and accepting our absorb cross condition. The film is bulky of noble people, unpleasant people and a lot of people in-between. Although the film takes area in China, there is a sense that it could be honest about anywhere in the world since the struggles contained within are so universal in nature. Zhang Yimou is very obedient at conveying the opinion that people are the same wherever you go. I acquire that and I assume that is why I was so immediately drawn into this yarn. The film ends with a most poignant moment of self-realitization for Qiu Ju. In keeping within the framework of a parable, sweet Qiu Ju, while so intent on teaching society a lesson ends up being the one who is taught a lesson … and a very famous one at that. I could verbalize you what it is but, you would be better served by seeing for yourself!
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