Martin Bradley "Beijing Bicycle" has been described as a Chinese "Bicycle Thieves". This kind of plot is easy to poach if not always that easy to bring off but Xiaoshuai Wang manages it beautifully helped by a couple of wonderfully naturalistic performances from Lin Cui as the young courier whose bicycle is stolen and from Bin Li as the young thief, as well as by the superb cinematography of Jie Liu. This time the plot is less predictable and handled with a touch more humor than you might expect. It's also a great 'city' film with Wang handling the milieu of a large, and to Western eyes, a virtually unknown metropolis with all the brio of a Lumet but also with a freshness of approach and, like Lumet, he manages to balance the comic and the tragic in equally brilliant measure. This is a truly terrific film that simply shouldn't be missed.

huangyiju Beijing Bicycle is certainly a layered movie that can be read at many levels. It ostensibly deals with a delicate and difficult subject that China confronts in its frenzied project of modernization: the floating population who lives on the edge of the city, the marginalized group that can no longer be glossed over in the grand narrative of urbanization. This floating population is the abjection, the cluster that can not be assimilated, the group being ruthlessly cast away but stubbornly clings on, and protests in silence; it is a disoriented group, usually incompatible to the ever-changing landscape of metropolitans; their voice is constantly being submerged in the hubbub of the sleepless cities. Indeed, the floating population is aphemic. What strikes me, frustrates me and saddens me is Gui's inability to communicate, to speak out, and to articulate for himself. (This is a little far off, but I was reminded of the similar frustration I had as a little girl when reading 'the little mermaid': if the mermaid has not given her voice away to the witch, she could tell the prince that it was she who saved him and wins his love.) Similar to the little mermaid, Gui could not speak up when he was wronged and abused. For instance, all Gui could convey to get his bicycle back is either his obstinate silence or his repeated sentence: "zhe che ben lai jiu shi wo de" (the bicycle is originally mine). His desperate, strident and continuous cry when being forced with violence by Jian's gang to let go off his bicycle is simply heart-breaking. Who is to blame for Gui's aphasia? Is it class division? Is it his own dislocation? Or is it the indifference of the city with its condescending atmosphere? The picture is definitely not black and white. The result of his aphasia, on the other hand, is more self-evident: at the end of the movie, Gui eventually turns to violence to break his silence… It is said that at least 60% of the crime that happens in Chinese cities comes from the floating population. They are suggested to be the root of the social problems. News reports constantly show how the innocent city folks are being hurt and robbed by those "the other" from the abjection, the floating population. Beijing Bicycle, however, attempts to approach this abjection, to speak up for those who do not speak for themselves, and allow us to sympathize with their plight.

bobbobwhite This film irritated me with its extreme slowness, and the dumbness and wimpyness of the lead character. Even for a drama, it was worth only about 30 minutes of film, but was extended to movie length for "artistic" effect, or whatever. Mostly whatever. Long, long blank looks at each other, almost no dialogue and what was there was so basic and simple, very slow camera panning to kill time....everything in it was at "walking underwater speed" and it just dragged and dragged. Too many very similar scenes that went on and on told me the filmmaker was padding, and not expressing his "artistry". Mainland China is way behind the west in film-making...about 50 years behind, as this film appeared to be post-WWII, not the early 21st century. Won't get much western audience, that's for sure.Really tested my patience but I stuck it out to the mostly unrewarding end that we knew was coming.(He got his bike. Duhhh.) Very simple type of story told much better many years ago in Italy's "Bicycle Thief". See that one instead.

limethief Browsing through some of the previous comments, it seems many viewers take the movie primarily as an allegory of class clash in Beijing. While the movie does state the contrast with emphasis, it's much more interesting as a story about teens. The title translates literally to "seventeen years' bicycle."The story is just that. Guo is a young man who earned a bicycle and promptly has it stolen. Through luck and perseverance, he finds it in the possession of Jian, a high school student. Trouble ensues.I grew up in Taiwan, and I remember kids doing incredibly cruel things to each other. Not so much gunning down classmates but there were plenty of physical and emotional violence. This movie is a powerhouse of insight into the psyche of teenagers. Contemporary Hollywood pumps out teenage movies by the dozen each year, and most simply gloss over the amount of pain and awkwardness adolescence can bring. Beijing Bicycle, on the other hand, can serve as an instructional manual for any high-school bully wannabes on how to reduce the stammering geek next door to a shell of a man.It's therefore understandable that the movie can be very difficult to watch at moments. Guo suffers humiliation after humiliation, and at times I wondered in frustration what it would take to get him to swing back (the ending provides some answer to that, I think). There is some humor in the movie, and Guo does have the resources to prevail occasionally. If you can stand two main characters respectively passive and oblivious, the story is an incredibly touching one about being young.