Jia Zhangke's Unknown
Pleasures is a powerful depiction of the spiritual malaise afflicting
Chinese youth as a result of global capitalism. The story is set in a small,
impoverished Chinese city in the remote Shanxi province close to the Mongolian
border. Two 19-year olds, Bin Bin (Zhao Wei Wei) and Xiao Ji (Wu Qiong)
are heavily influenced by American culture and seem to be motivated only
by their own immediate pleasure. They live on the margins in a city where,
according to the director, two-thirds of the population were unemployed
in 2001. They drink Coke, chain smoke cigarettes, covet U.S. dollars, talk
excitedly about Hollywood movies such as Pulp Fiction, and dance
to Western-style music at the local club.
Bin Bin lives with his
mother (Bai Ru), who works at a local textile factory and sympathizes with
the Falun Gong (a Buddhist religious sect that has been persecuted by the
Chinese Communist government). Apathetic and disengaged, with no job and
nothing to do, the two friends hang around the local community center playing
pool and chatting with the regulars. After trying out for an acting job,
Xiao Ji becomes attracted to Qiao Qiao (Zhao Tao) whose protective lover
is a gangster named Quiao San. Xiao follows her around but seems unable
or unwilling to make a move. When they finally go dancing, Xiao has to
confront the threats of Quiao San's goons, who finally catch up with him
and slap him around.
Bin Bin also has a girlfriend,
Yuan Yuan (Zhou Qing Feng), but their romance seems to consist only in
watching movies in a hotel room and singing popular songs with words that
echo their own lives. Yuan Yuan seems to have more purpose in life than
Bin Bin, and wants to study international trade in Beijing. In an example
of the director's wry humour, Xiao Ji puts Yuan's studies in perspective
by saying, "WTO is nothing. Just a trick to make some cash," while Bin
Bin declares that international trade is about buying rabbits to resell
in the Ukraine. With few interests in common, the two slowly drift apart.
In a telling scene, as Bin Bin sits in a booth inside a train station staring
blankly, Yuan Yuan rides her bicycle around and around, waiting for him
to throw off his lethargy and join her.
Though the boys hear about
events in the outside world on television, for example, the winning of
the Olympic Games by Beijing and the arrest of the leaders of the Falun
Gong in Japan, they don't seem affected. Seemingly inured to unexplained
violence, they are just mildly perplexed when a bomb explodes nearby with
tragic results. Bin Bin asks whether the United States is attacking China.
The film is shot in digital
video, which enhances its authenticity. Jia avoids pathos and sentimentality,
opting for a documentary-style realism that is deeply affecting. Although
he focuses on the boys as victims of social and economic dislocation in
China, the theme is more about feelings of abandonment, loneliness, and
emotional numbness. Jia, one of the best of China's new generation underground
"indie" directors, has captured this sense of ennui more palpably than
any movie I've seen in a long time. When Xiao finally abandons his sputtering
motor bike in the middle of a new superhighway, Jia seems to be suggesting
that both he and China itself are at a precarious crossroads in their existence
and must discard what isn't working if they are to move on.
Howard
Schumann