A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Saturday, November 16, 2024

The Shadowless Tower (Zhang Lu, 2023)

Huang Yao and Xin Baiqing in The Shadowless Tower

Cast: Xin Baiqing, Huang Yao, Tian Zhuangzhuang, Li Qinqin, Siqin Gaowa, Wang Honwei, Wang Yiwen. Screenplay: Zhang Lu. Cinematography: Piao Songri. Production design: Zhang Yican. Film editing: Liu Xinzhu. Music: He Xiao. 

The Shadowless Tower is a fable about dislocation and the attempt to reconnect. It opens with a family visit to the grave of the mother of Gu Wentong (Xin Baiqing) and his sister Wenhui (Li Qinqin). Wentong and Wenhui are surprised to see that there are flowers already on the grave, but Wenhui's husband explains that they were brought there by Gu Yuntai (Tian Zhuangzhuang), the estranged father of the siblings. It's a dislocated family in many ways: Wentong is divorced, and his daughter, Xiao Xiao (Wang Yiwen), whose name the subtitles translate as "Smiley," lives with Wenhui and her husband. Yuntai, the father, separated from the family many years earlier, when he was convicted and jailed (perhaps wrongly) for sexual misconduct on a bus; he now lives in Beidaihe, a seaside town many miles from Beijing, where his children live. Even the titular tower, the 13th century White Pagoda, a Buddhist temple, is a symbol of dislocation: Because of its unusual shape, it's said not to cast a shadow locally but instead 3,000 miles away in Tibet. The film concentrates mostly on Wentong, a restaurant reviewer who is accompanied on his visits to dining spots by a photographer, Ouyang Wenhui (Huang Yao), a much younger woman with a sardonic manner. What plot the film has concerns Wentong's attempts to reconnect with his father, who coincidentally lives in the same town where Ouyang was born. There's also some sexual tension between Wentong and Ouyang. It's a leisurely film, beautifully shot by Piao Songri, that could use some trimming to heighten its witty, wistful atmosphere.