badidosh Perhaps to emphasize the fact that these are people who would easily blend into the city's gritty atmosphere and would therefore be eventually inconspicuous, the characters of Cyclo, Tran Anh Hung's foray into Saigon's seedy underworld, have no name. Merely referred to as the cyclo driver, the poet, the sister, the madam, etc., these characters are merely the paint director and writer Tran uses to create the bigger picture, rather than the pictures themselves.As such, to linearly follow the story's plot is to somehow miss the point since the film is more interested in weaving various story lines to create a brooding picture of Saigon and its impoverished inhabitants. Set in 1995 in the busy commercial capital of Vietnam, a young man (the cyclo driver, played by Le Van Loc) is barely making ends meet pedaling passengers around the city via a pedicab (or a cyclo) all day. But when his cyclo is stolen, the cyclo driver turns to the poet (Hong Kong actor Tony Leung) who takes him under his wings, involving him initially in petty crimes and then gradually to major crimes such as murder and illegal drug trafficking. Meanwhile, the cyclo driver's sister (Tran Nu Yên-Khê) works as a prostitute for the poet, with whom she shares (or shared) a relationship with.More like a visual poetry, the narrative aspect of the film may not appeal to more conventional members of the audience but Tran's masterful creation of a graphic portrayal of the city evokes a visually stunning sense of desperation and decay. The depressing portrait of a city is shared by those who live in it, amplified by the depressing atmosphere that permeates on screen. The end result doesn't necessarily make one feel good; but in this case, that doesn't necessarily mean bad.

soniaandree The movie was screened two years ago, on my recommendation, and mainly to a UK and some foreigners' audience. Reception and comments about the movie were not as expected: "rubbish!" was heard from an old member, "great!" by some other. There is no in-between when it comes to this movie, most UK people have found it too realistic, most foreign ones saw it as a clear depiction of Ho Chi Minh City's decadence and corruption. In my opinion, this movie has got the merit of showing how things are, and how characters are not so clear-cut in their badness or goodness. It feels like everyone is looking for a form of forgiveness by trying to redeem themselves of past/current actions. In the end, I recommend the movie regardless, though British viewers may find some scenes upsetting. It is not often that the viewer can find such a mix of feelings in a movie's characters. A movie which should not leave you indifferent, that's for sure.

George Parker "Cyclo" tells of an impoverished Saigon family whose son (Cyclo) turns to crime and whose daughter turns to prostitution as a matter of economic survival. A magnificent accomplishment in cinematography, there's little new to be found in the film's somewhat muddled story which is told almost exclusively with the camera as Oscar winning director Anh Hung Tran demonstrates mastery over the lens in delivering this tapestry of pictures which captures the beauty and blight of a bustling Vietnamese city. Not for everyone, "Cyclo" will play best with those who appreciate true artistry in film.

HaN-hAn Xich lo is a highly disturbing movie which manages to combine aspects of many cinematic traditions to make something new. It seems that the director held European cinematic and directorial traditions very high, and that is plainly visible in this movies. But the use of colours that somehow seem to move the soul can only be asian.The humdrum of the city does not let up. The movie depicts a vicious cycle of abuse, extortion and violence. Le cyclo's attempt to get justice after his cyclo has been stolen is futile at first. Angry, he seeks help from le poete. This leads him into a spiral of violence, drugs and insanity. The fact that the actors do not have names, simply lables, such as "le cyclo," "le poete", and "le grand-pere," seem to reinforce the futileness of life in such conditions.There is a strong undercurrent of frustration in this movie. Le poete, pimping out his girlfriend to fetishists whose pleasure does not come from the sexual act. He wants to keep her virtue for himself, but of course, this is folly. And even sadder is the le grand-pere, who is old, and sick, and yet, has to perform back breaking work to get by in life. Given a chance to earn some money, he rejects it, sticking by his principles. But ultimately, this does not get him anywhere.So what is one to do? Being honest doesn't help you get anywhere. Neither does being a gangster. Or a madame. In the end, this is the question that remains unanswered...or to which there is no answer.