By the time of this filming, the cultural revolution was over and economic development was on the rise with the advent of Deng Xiaoping's economic policies. Thus, the censor police allowed a peek into the cracks of the social structure of marriage while at the same time espousing the one-child policy, an interesting juxtaposition. We see the rigid village tradition while at the same time witness Coral (Josephine Koo) struggle as a businesswoman. As a film, however, the plot was slow and disjointed, and acting was mostly morose and dull. I did find the cinematography and aspects of village life interesting enough to keep me engaged. Fortunately I was able to witness a semblance of old China from 2013-2015 while capitalism's double edged sword was wielded: the lifting up of millions from poverty while despoiling the environment.
2 Reviews
What was depicted in the movie is more common in China now
zzmale8 April 2004
But very unfortunately, it is not the good stuff described in the movie. Instead, what was becoming rampant in China was the "tortured urban life" depicted in the movie.
Due to the recent rapid economic expansion, the urban populations are increasing experiencing what our female protagonists are experienced in the city life, but unlike the protagonists in the movie, the urban population in China has nowhere to escape, not mentioning recovering something they lost, because it is increasingly difficult to find the rural towns depicted in this movie, since urbanization is a growing trend which is irreversible as economy and society develops.
Due to the recent rapid economic expansion, the urban populations are increasing experiencing what our female protagonists are experienced in the city life, but unlike the protagonists in the movie, the urban population in China has nowhere to escape, not mentioning recovering something they lost, because it is increasingly difficult to find the rural towns depicted in this movie, since urbanization is a growing trend which is irreversible as economy and society develops.
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