Watch: 苏州河 2000 123movies, Full Movie Online – The river Suzhou that flows through Shanghai is a reservoir of filth, chaos and poverty, but also a meeting place for memories and secrets. Lou Ye, who spent his youth on the banks of the Suzhou, shows the river as a Chinese Styx, in which forgotten stories and mysteries come together. Mardar, a motorcycle courier in his mid-twenties, rides all over the city with all kinds of packages for his clients. He knows every inch and is successful thanks to the fact that he never asks questions. One day he is asked by a shady alcohol smuggler to deliver his sixteen-year-old daughter, Moudan, to her aunt. Mardar and Moudan grow fond of each other. But their tender happiness is disrupted when Moudan thinks that Mardar has kidnapped her for a ransom. She is so disappointed in him that she jumps off the bridge into the Suzhou River. Mardar is now suspected of murder. When a couple of years later he comes out of jail, he meets the dancer Meimei, an alter-ego of Moudan, and becomes fascinated by her..
Plot: After getting out of prison, small-time crook Mardar stumbles upon a woman who looks exactly like his long-lost lover.
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|7.4/10 Votes: 5,149|
|90% | RottenTomatoes|
|76/100 | MetaCritic|
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A dazzling film for the millennium
It is possible to chart the history of post World War II cinema as a series of national waves each peaking in different decades, for instance Italy in the ’40’s, Japan in the ’50’s, France in the ’60’s and ’70’s and China and Taiwan in the ’90’s. A case has been made out for Iran in the ’90’s but examples I have seen, however fine, have seemed to me to be rather small in scale when compared with the rich offerings from the far East. China entered the millennium with a tremendous bang with Ye Lou’s brilliant “Suzhou River”, the impact of which has left me reeling. Although I had become accustomed to the uniform excellence of the work of Zhang Yimou, Chen Kaige and their contemporaries, nothing had quite prepared me for the dazzling narrative brilliance of this new work. Although Chinese cinema is often innovative in subject matter, the finest examples such as “Raise the Red Lantern” and “Temptress Moon” tend to be fairly straightforward in their sense of narrative flow. “Suzhou River” however, as far as I am aware, has no precedent in its fascinatingly oblique approach to storytelling, a quality it shares with the Canadian, Robert LePage’s “Le Confessional”. The two films have another feature in common, both being inspired by Hitchcock. Although “Hitchcockian” is a loose generic term used to describe films that employ the Master’s approach to suspense, both “Le Confessional” and “Suzhou River” go one step further in concentrating on a a single Hitchcock work for their inspiration, in the case of the former, “I Confess” and in the latter, “Vertigo”. But at this point similarity ends. “Le Confessional” is very much an imaginative meditation on “I Confess”. Some scenes deal with the making of the film and subtly contrast the original situation with a Quebec family facing a similar dilemma of conscience and its consequences a generation forward in time. The Chinese film is very different insofar as “Vertigo” is never mentioned. It takes a “Vertigo”-like situation and proceeds to tease the audience with outcomes that are subtly different. Stylistically it bears no similarity as it employs a frenetic hand-held camera technique that would have been alien to Hitchcock’s obsession with studied visual balance. However there is a wonderful technical bonus that Hitchcock would undoubtedly have admired, where one of the characters -the director probably – remains unseen throughout but uses the camera as his eyes. The device is not new – it was used by Robert Montgomery in “Lady in the Lake” – but what was there something of a gimmick is here subsumed into the narrative in a way that is deeply satisfying. The most direct reference to “Vertigo” is reserved for Jorg Lemberg’s score with its sighing string phrases – pure Bernard Herrmann pastiche. “Suzhou River” is one of those very rare events, a film I immediately had to see again. Although works such as the Belgian “La Promesse” and the Japanese “After Life” have far deeper resonances of meaning, few films have excited me so much in recent years from the point of view of sheer technical bravura.
SPOILERS!! An exploration of existentialism.
SPOILERS!! SPOILERS!! SPOILERS!! SPOILERS!! SPOILERS!! SPOILERS!!
Beautiful to look at, touching to endure. The frequently POV and semi-handheld camera work is quirky but successful. The locations portraying Shanghai are deliciously chewed up, layered, soiled and water stained Pleasantly moist so to speak. Lurid and fetching the way Cyclo is, but delivers at a far faster pace like Swallowtail Butterfly, though without the humor generally. Really a nice though sardonic love yarn. Did I mention yet that many of the visuals in this need to be taught to our young ones IMMEDIATELY? The shot of the courier Mardar perched on the ladder leering down thoughtfully at unwitting hostage Moudan, their heads on diagonally opposite intersections of the grid, static yet breathing, a masterpiece to behold and a desktop wallpaper waiting to happen with the quiet disturbed power of Leon without quite the pedophiliac undertones (although perhaps not completely without). Excellent work, and some really interesting credits if you ever want to see how the Germans and the Chinese might work together to produce a tweaked out love story. Last note, really appreciate and respect the move to anchor the tale to a narrator that is a partial, biased yet generally passive voyeur. Certainly an exploration of existentialism, at least more candid and blatantly than most flicks, as truth be told all flicks are a degree of existentialist experience, the very notion of an audience of passive voyeurs vicariously living another’s life through the medium. And so on.
Original Language zh
Runtime 1 hr 23 min (83 min)
Genre Drama, Romance
Director Ye Lou
Writer Ye Lou
Actors Xun Zhou, Hongsheng Jia, Zhongkai Hua
Country Germany, China, France
Awards 8 wins & 4 nominations
Production Company N/A
Sound Mix Dolby
Aspect Ratio 1.85 : 1
Film Length N/A
Negative Format 16 mm
Cinematographic Process N/A
Printed Film Format 35 mm