Shower
/ Xizao (1999)
Country: China
Director: Zhang Yang
Cast:
Zhu Xu - Master Liu
Pu Cun Xin - Da Ming
Jiang Wu - Er Ming
He Zheng - He Bing
Zhang Jin Hao - Bei Bei
Lao Lin - Li Ding
Lao Wu - Feng Shun
The film
begins with a busy professional visiting a shower facility
for a quick bath. He is cleaned with machine efficiency, which
calculates the amount of water he needs to minimise waste
- much like a car, and indeed, a conversation in the movie
later takes place in one. Contrast this cutting-edge human
car-wash technology to the misty laid-back environment of
the old Chinese bathhouses, with its host of characters and
charm, under threat from demolition to make way for a spanky
new block of flats or shopping mall.
Master
Liu is the owner and operator of one such bathhouse, falling
to bits but kept scrupulously clean every morning with the
help of his retarded second son, Er Ming, a cheerful and enthusiastic
character whom his father and the customers treat with loving
affection. Da Ming, the first son, arrives from the south,
after receiving a cryptic postcard from his younger brother
that he interprets to mean that his father had died. He is
relieved to find that this is not the case, but decides to
stay on for a while. He views the bathhouse as a charming
but ultimately anachronistic relic of the past, and is anxious
to return home to successful affluent life down south, guiltily
reminded of his infrequent trips to visit his family and not
introducing his wife to his father.
The film's
characters live in a world full of affection and human foibles,
where the bathhouse is more than a place to get clean but
also a social area for old friends to meet, bicker and gossip.
It is filled with endearing characters, like two old friends
bickering over a cricket-fighting competition, a harried married
man taking refuge from his wife in the male-only environment,
and a shy young man who can only sing under a shower. The
stories Master Liu tells of more ancient rituals in lyrical
flashbacks comes to associate bathing as a symbol - not only
of bodily cleansing, but also of spiritual cleansing. There
is much to recommend this film, from its acute observances
of human behaviour, to the performances by its actors. This
isn't a film with obscure messages or complexity. It is a
simple gentle story that notes the loss of tradition and humanity
in China's modern society. But a dignity is lent to the film
by its resigned acceptance of the inevitability of fate. It
leaves an ache in heart, as the film, like Da Ming and the
patrons of the bathhouse, quietly mourns the passing of the
old and irreplaceable.
Eden Law
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