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Original Title: A Touch Of Sin

Genge: Action,Drama

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Four independent stories set in modern China about random acts of violence.
One additional star for the topic that few has tried to film.

In about ten or twenty years, these 120 minutes of social depicting will be one of the very rare and precious visual stories for people to understand and entertain what is going on in the first ten years of the 21st century China. It offers a prospective with some interesting details that makes sense to the westerners or maybe its fellow countrymen in the future. But it doesn't really add up for the people living in China nowadays, or at least, the details are not enough.

Stories are too short that they can barely touch the real psychology that the Chinese laborers are having today. I'm not sure whether it is something that the director fails to do or he is not allowed to do. For example, there are lots of complexities existing between a complaining Shanxi miner and a mad murderer. Throughout the first story, the only real attempt Dahai, who has learned the laws and has close relatives living in the city, has made to disclose the corruption is a mail letter without a specific address. This is far away from the countless efforts that a Chinese miner would make before he explode himself with the illegal riches. To me, the efforts, the struggles, and the final desperate in Dahai's mind are the most interesting parts of the story. However, nothing really happens in the movie. The result is that, Dahai seems more like a legendary cowboy coming from a classic American western movie than a struggling Chinese worker who has relatives to care about.

It touches the social issues we are all witnessing in China today, it is entertaining and somewhat heroic, but it fails to restore the story into reality, let alone into a provoking level. In Jia Zhang-ke's A Touch of Sin four individuals revolt against their oppressive lives in contemporary China. It's one of those films whose backdrop is so rarely seen and fascinating we're tempted to ignore the narrative for it. But the stories are too strong to miss.

In a small northern town a loner in a green coat campaigns against the local politicos who have grown obscenely rich by skimming off the money from their sale of the collectively owned mine. The two main symbols are the Mao statue in the town square, all but ignored now, and the Maserati the boss bought and leaves outside his factory. The hero snaps and guns down everyone in his way to the boss, whom he kills at the Buddhist temple.

The second hero returns home on his motorcycle in a Chicago Bulls cap, to find the region scarred by high rises and the Three Gorges hydroelectric plant. The scenes seem like the usual awkward homecoming, till we learn he's just killed three men.

In the fourth story a young man leaves his factory job when he's expected to give his salary to a co-worker who badly injured his hand in a work accident. The boy works as a waiter in a high-priced brothel, where he's attracted to a young whore who reveals she's working to provide for her little daughter. Seeing no escape from the web of poverty and corruption the lad kills himself.

In the third story a sauna receptionist has broken off with her married lover. When a wealthy man flogs her with his bankroll to bully her into sex she kills him and wanders off bloodied and distracted. She returns in an epilogue, rehabilitated, applying for a job in different part of the country. When she watches a street theatre company the lead peers out at the audience and asks: "Do you know your sin?" But the camera holds on the audience, everyday faces, not the ones whose stories we have stumbled into. The implication is that while we have watched characters driven by ideals and desperation into sin perhaps there is a heavier sin among those prosaic citizens who have quietly put up with everything. If our four heroes have committed "a touch of sin," the collective sins of omission weigh heavier still. For more see www.yacowar.blogspot.com. There’s a sense that all the thematic messiness is intentional, a way for Jia to diagnose the ills of a country whose economic and social fabric is wilting under the effects of rapid modernization.





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