In his daring drama from 2000, “Suzhou River,” Lou Ye intermingles myth and reality to deliver a bold political diagnosis.
There are enough genres mashed up in Lou Ye’s 2000 film “Suzhou River” to fill a festival, and its complexity is far more than a display of the director’s virtuosity. Cinematic form has a special meaning for filmmakers working under censorship, and Lou, a Chinese filmmaker, did as many other filmmakers do under similar circumstances.
For starters, “Suzhou River” is placed under the sign of trailblazing modernism: it’s a diary-film, not an actual diary but a composed work of first-person cinema, in which the central character and central consciousness is fictional—maybe. Despite dominating the film with his point of view and his voice-over narration, the protagonist remains a cagey and calculated mystery—he’s never named, and his face is never even seen, though his hands pop into the frame a few times, for a few moments.
At that point, the Videographer becomes a sort of cinematic Scheherazade, making up Mardar’s story, which is dramatized as the Videographer himself, in voice-over, narrates and comments on it. The tale of Mardar is a blend of film noir and supernatural fantasy, a downbeat story of a young man who’s at loose ends; he buys a stolen motorcycle and has big dreams, but ends up one of the city’s horde of bike messengers.
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