User reviews

Zhang Yimou's "The Story of Qiu Ju" is not a masterpiece as is his film "Raise the Red Lantern." It doesn't have the epic qualities of "To Live" nor is it as visually stunning as "The Road Home." But "Qiu Ju" may well be Yimou's most thought provoking film, leaving you pondering the messages a long time after the film has ended.

Qiu Ju's husband has been kicked ("where it counts") by the village chief. The only bit of justice Qiu Ju wants is an apology. It seems to be a simple enough request, but her search for the apology proves to be elusive as she encounters a legal system more interested in its own red tape than in the needs of ordinary people.

But this is not "Erin Brockovich" where the sides of "good" and "bad" are easily defined. The people in the legal system Qiu Ju encounters are genuinely decent folks. They are also, unfortunately, a bit clueless. And Qiu Ju is not beyond reproach herself. At the conclusion of the film even she is realizing that she has pushed the matter too far.

Just how far should one go to seek justice in this world? Even if you are totally in the right, does there come a time when you must let the matter rest for your own sake as well as everybody else's? There are no easy answers.

This is another great performance by Gong Li in the title role. She may be one of the most beautiful women in the world, but here she is not above playing "dowdy." And as usual, Zhang Yimou is nearly flawless in his direction. He gives a wonderful tip of the hat to the late French director Francois Truffaut in the end, echoing that famous final shot of Truffaut's "The 400 Blows."

But this is a film that will stick with you well past that last shot.

This is a story 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 determined, Qiu Ju steers her way 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 big city avenues are presented with stunning clarity so that the color and the sense of life is vivid and compelling. Director Zhang Yimou. forces us to see. 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 near the end, we feel the humanity of the great mass of the Chinese people.

In a sense this is a gentle satire of the bureaucratic state that modern 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 cut into noodles, the fat cows on the roads and the bright 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 idea that fairness and tolerance will prevail.

In another sense, this is a parable about the price of things and how that differs from what is really of value. So often is price mentioned in the movie that I can tell 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 fair price for a short cab ride; twenty yuan for a legal letter.) Getting justice in the strict sense is what Qiu Ju demands. Her affable husband would settle for a lot less. He is the wiser of the two. Notice how Qiu Ju is acutely sensitive to price. She bargains well and avoids most of the rip offs of the big 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.

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The whole story is very smooth, and the portrayal of rural China in the film is easy to sigh the director's care for farmers.

This beautiful chinese movie reminds me of neorealism. It' s the struggle for justice of a woman, who despite being pregnant struggles for it. It's also the archetypal story of naive paesants who have to go to the city to get their deals done and that's common to many of our ancestors. The characters are really realistic, and there's a wonderful acting by Gong Li.