schwabbeldiwauwau I have to say that I am genuinely skeptical about people who hail this movie as a "masterpiece", because I simply cannot believe that anyone could overlook the many flaws of the movie - especially concerning the aspects of story-telling and entertainment. I can already see how some people who read this cry out: "This is not supposed to be about entertainment, it's about emotions, a mirror of the time and place, it's thought-provoking, beautifully shot, if you don't like it, you should go back to watching the Fast and the Furious", etc.! Well, fact is: a good movie SHOULD be entertaining! If it fails on this level, then it fails as a whole, no matter how beautifully shot, etc. it is. It is right, of course, to say that too many movies are made solely for entertainment purposes. Many movies try to feed us basic ingredients, but fail to spice them up - and those movies fail, too. Summer Palace, on the other hand, delivers lots of spices in terms of artistic craftsmanship - but no substance. I don't think the story it tells is worth telling for the most part.The movie does depict an interesting time and place; and it is nicely shot. And it probably took some courage to make because it features the demonstrations at Tian An Men Square in June 1989, which is still kind of a taboo today in China (don't get your hopes up, though: you just see a crowd demonstrating and throwing bricks at a burning truck for a few minutes; the political background is never mentioned or even hinted at, nor does anything else happen, besides the main characters being scared and confused and running around inside the student dormitory looking for each other). The characters, however, experience a remarkably small amount of hardship (or happiness, or even anything), considering the times they live in. Yet they all seem to break in their own ways under the things they endure. I think a big problem i have with this movie is the fact that it takes itself so very seriously and the characters feel sorry for themselves all the time because of how tough they have it. And since they don't attempt to do anything about their oh-so-tough problems, it is pretty hard to feel sympathetic for them.We get to see good acting for characters that are barely worth the actors' while. They have to deliver pseudo-meaning-bearing lines like "i want to break up with you because i cannot break apart from you" followed by two people staring at each other or thinking for a veeery looong time without saying a word. Another recurring thing (at least once every fifteen minutes) is people having sex and bursting out in tears after wards because they are emotionally overwhelmed or unfulfilled. The sex scenes get really old really quick, by the way. And so does the crying.Summer Palace seems to me like a movie made for an audience that generally enjoys independent movies with high artistic value and low commercial motivation. It is made for an audience that likes to find subtle messages where there maybe really aren't any. And it is made for an audience that doesn't mind watching an unimpressive story unfold over two-and-a-half hours. It's the kind of movie you're bound to see at some point when you attend a film-festival.

sitenoise "Because it is only when we make love that you understand that I'm gentle."That's all the character development I need. This is an ambitious film about the stalled maturation of an idealistic but troubled young woman flanked by the Tiananmen Square protests, the fall of the Berlin Wall, and the handover of Hong Kong to mainland China. The film spans a decade and a half from 1987 to 2003 so I guess the misery of Three Gorges Dam couldn't make the final cut. The direction is a little chaotic at times but it reflects the nature of the film and doesn't come off as too much of a liability. The soundtrack is impeccably chosen and the film is ultimately very sad. I was glued to this 140 minute masterpiece. Politics aside, and they are on the side, this is a remarkable film in its honest portrayal of failure, not of personal character necessarily, but of circumstance.This is another film that got its director and producer banned for five years from making films in China. Maybe it's the full-frontal nudity or the sheer quantity of sex scenes but I don't see the need for hubbub. The film is about a woman's self-reflection on why she finds comfort in the arms of different men. We see her naked inside and out. She is afraid to love out of fear, fear of something she hasn't yet experienced, but isn't that the scariest kind of fear?There are a number of things wrong with the film, perhaps, but very little could be done to improve it. Great films succeed in spite of their weaknesses. I'm not a fan of off camera narration but it works for me here. It seems additional rather than necessary. There is a maturity to the woman's voice as she narrates with entries from her diary that compliment, do not seem at odds with, the can't quite grow up activities of the woman on screen. In order to get from the Berlin Wall to the Hong Kong Handover, 1989 to 1997, we're treated to narrative on screen text to fill us in on what's happening to the characters. Ordinarily that would be a deal breaker for me, in theory at least, but again, it works. Finally, as if this were a real story about real people, after the final denouement occurs we're given updates on what happened or didn't happen to the principle characters. Frankly, as gut-wrenchingly sad but true as the final scene is I wish it would have just faded to black. But I think it's a tribute to the strength of the characters that I found myself intrigued by the postscript.Having said that, I think one could argue that from a strictly script perspective a little more fleshing out was in order ... and I don't mean that full-frontally. I think it comes down to this: if you've ever known passionate, poetic, misguided people, you know these people right away. They're part beautiful and part brutal, there's no talking them out of it. That's the point. This film doesn't set out to explain, diagnose, or change its characters. It just wants to show them to you in all their painful glory, and I think it does a very good job of it. Then again, maybe it's just a case of been there, done that.

Chad Shiira Yu Hong(Hao Lei) is no different than the average American youth. Although the first-year college student may take a passing interest in her country's political climate, the super-charged ambiance of the bustling Beijing University campus never makes a strong enough impression to usurp the personal fireworks she started with a boy named Zhao Wei(Guo Ziading). While her classmates talk about politics in smoke-filled cafes and bars, she and Zhao Wei are having hot sex in his dorm room. Yu Hong is apolitical. Dancing to bad American music gave Yu Hong and other young people like her the impression that they didn't have to fight for the right to bop along to Toni Basil. The girl from the small provincial town can open her legs all she wants, but it still doesn't make China an open country.Campus life is a sheltered life of consciousness raising and extra-curricular activities. In "Yihe yuan", the leeway that the Chinese government allows their young people to speak their minds is mistaken for freedom. Because the students smoke, drink, f***, and dance like Americans, they forget that this intellectual and spatial enclave was the site of a purge that resulted in a lot of over-qualified laborers who dotted the countryside. In one pointed scene, to illustrate how young people like Yu Hong and Zhao Wei took their deliverance from collectivism for granted, the two lovers pedal for the lead in a playful bicycle race, and as they alternate being in the front position, a passing poster of Mao Tse Tsung reminds the viewer that life in Red China was a utilitarian one. Yu Hong and Zhao Wei don't live in a vacuum. The image of this dictator is a foreshadowing of things to come. To go racing in the streets that once flowed with blood, and will soon flow again, is an innocent but flagrant act of defiance. There can't be a battle of the sexes until the battle is won against the government. After their love breaks down, Yu Hong writes in her diary that she taught Dong Dong, a roommate, how to masturbate. As an afterthought, she reports on the first rumblings of the students' protest at Tianamen Square that infamously ended in police gunfire. Yu Hong makes love, not war, and the same goes for Zhao Wei, as well. When the first shots are fired into the student congregation, Zhao Wei hardly notices the pandemonium that surrounds him. All he cares about is locating Yu Hong before she returns home to Yumen.Yu Hong and Zhao Wei aren't heroic. Their participation in history was pure happenstance. It's not fair to paint them as anti-heroes, but they are, despite their tender age. "Yihe yuan" is not a film about revolutionaries, but still the lovers make a political statement with their bodies. "Yihe yuan" ends with a post-script that informs us on the current whereabouts of Yu Hong and Zhao Wei as if they were real people. This simulacrum of reality gives us the impression that we've just witnessed a documentary about their otherwise fictive lives. By doing this, their f***** seems real enough to be thought of as a weapon to fight back against the government, with love, instead of bullets.

John Peters When I saw Summer Palace, I assumed initially that the title referred to a building near Tiananmen Square. A quick Internet search, however, showed that this is not the case. The Summer Palace (Yihe Yuan, literally The Garden of Good Health and Harmony) is an elaborate structure and garden in the hills near Beijing that was originally the emperor's summer residence. After more web searching, I discovered from a comment by Agora on the Flixster Website (http://www.flixster.com/movie/573373022) that the grounds of the Summer Palace are the location of an "intimate bonding moment" between the two university students who are the film's main characters. They are Yu Hong, a girl who has recently come from the country, and Zhou Wei, a more experienced member of the student intelligentsia.All the same, I like the film's French title, Une Jeunesse Chinoise (A Young Chinese Girl) better. An esoteric but appropriate alternative would be La Française (The French Girl) in reference to Jean-Luc Godard's 1967 La Chinoise (The Chinese Girl). In Godard's film, a young French woman pretends to be a Chinese cultural revolutionary. In Summer Palace, a Chinese girl learns to pose as, among other things, a French intellectual.The movie is indebted to the French New Wave in other ways as well, including use of real urban settings, choppy editing, and lots of sex. The sex is different from what we're used to. It's neither pornographic nor romantic. There are nude bodies, primarily those of the attractive Yu Hong and her sexual partners, and they perform with graphic intensity. There is, however, neither stimulation nor foreplay. The partners are undifferentiated and their positions conventional (though a shift, in later episodes, from the missionary position to sex with the woman on top may have some significance).In other ways as well, I found it hard to relate to any of the movie's characters. Though they must all have worked very hard to be admitted to an elite Beijing university, there is no indication of their academic activities. A brief sequence of documentary footage shows the Tiananmen Square demonstrations and implies the subsequent massacre but there is nothing about planning or political intent. For the characters in the movie, political action seems no more than a momentary sensation as they go about their alienated lives.Maybe this indifference is an inheritance of the Cultural Revolution. Mao went to great lengths to deprive his subjects of personal identities, including, at one point, an effort to replace names with numbers as a means of identification. It's also possible that there are things in the movie that I, as an American, just don't get. Still, I can think immediately of two memoirs, Jung Chang's Wild Swans and Anchee Min's Red Azalea, that portray individual Chinese characters in depth and with great effectiveness. These are things that director Ye Lou is not able to accomplish.These comments should not be taken as excusing the Chinese government's banning Yihe Yuan from internal distribution and prohibiting Ye Lou from making films for five years. I asked the manager of the theater in which I saw the movie whether Lou had been imprisoned. "Not yet," he said. It should be kept in mind that the old men who still rule China have only been able to survive and prosper because they were once sycophants to the greatest mass murderer in human history.